Sunday, 23 September 2018
Top Ten Films at the UK Box Office
for the weekend of September 14-16, 2018:
1 (new) The Predator (15)
2 (1) The Nun (15)
3 (new) Crazy Rich Asians (12A) **
4 (new) King of Thieves (15)
5 (2) Christopher Robin (PG) **
6 (4) Mamma Mia! Here We Go Again (PG)
7 (3) BlacKKKlansman (15) ****
8 (6) Incredibles 2 (PG) ****
9 (8) Hotel Transylvania 3: A Monster Vacation (U)
10 (5) The Meg (12A) ***
My top five:
1. The Godfather [above]
2. The Captain
4. American Animals
5. Faces Places
Top Ten DVD sales:
1 (1) Avengers: Infinity War (12) ***
2 (2) The Greatest Showman (PG)
3 (5) Peter Rabbit (PG)
4 (3) Rampage (12)
5 (new) Spitfire (PG) ***
6 (4) The Guernsey Literary and Potato Peel Pie Society (12)
7 (new) I Feel Pretty (12)
8 (new) The Krays: Dead Man Walking (18)
9 (7) Ready Player One (12) ***
10 (11) Black Panther (12) **
My top five:
2. A Quiet Place
3. Avengers: Infinity War
4. The Rape of Recy Taylor
5. Ghost Stories
Top five films on terrestrial TV this week:
After racking up a couple of flashy box-office hits (2002's Tattoo, 2003's The Family Jewels), director Robert Schwentke left Germany around the point its filmmakers began making renewed efforts to address the country's troubled history. While his contemporaries made Downfall and The Lives of Others, Schwentke would be in Hollywood, making a fitful (albeit doubtless well-compensated) career churning out passing multiplex filler, films like 2005's Flightplan, the 2009 adaptation of The Time Traveller's Wife and 2010's RED. With that chapter at an end - perhaps as a result of the eternally underwhelmed responses to his YA Divergent films - the filmmaker has returned home to write and direct the kind of film the German industry might have encouraged him to make had he stayed put in the century's first years - only now he gets to make it with an extra decade's worth of showmanship and storytelling nous under his belt. The results qualify as the biggest surprise of the week.
Shot in wintry black-and-white (with thematically helpful shades of grey in between), The Captain recounts the remarkable and instructive true tale of Willi Herold (Max Hubacher), a deserter from the German army who, during his flight from the frontlines of WW2, had the weird fortune to stumble across a jeep containing an errant Nazi officer's uniform and papers. Assuming this new identity gave a man fleeing in fear of his life food, board, good standing with those he subsequently encountered, and even a small army of loyal followers to fight battles of his own devising; as these developments played out on screen, I was reminded of that very early episode of It's Always Sunny in Philadelphia, where the gang reluctantly agree to burn the same, inherited items of clothing ("It just seems like a waste of a perfectly good Nazi uniform") after they spur on certain individuals to commit terrible abuses of power. Schwentke's film, however, sets out its stall as tragedy with an early graphic that establishes Herold made his discovery mere weeks before the end of the war. Whatever superpowers this outfit bestowed upon him, they would very quickly wear off; yet this didn't stop Willi Herold leaving a jawdropping trail of destruction in his wake.
The question hovering over at least the first act's events is: well, what would you do? What looks like opportunism from one perspective might look from another like social mobility in a country gone to naught. The complicating kicker is that said mobility demanded Herold act in a manner concordant with the uniform, first by shooting those unlucky enough to have been found guilty of the same looting he himself had got away with, then by accepting an offer to become onsite efficiency expert for an overstretched yet hitherto comparably peaceful concentration camp. At each critical juncture, the camera finds in Hubacher a boyish malleability, a willingness to do anything to be accepted - and not necessarily from a desperate need to stay alive. Instead, this Willi Herold's eyes grow darkly dreamy with the prospect of reentering the military at a far higher level than the one he exited at, with all the benefits (respect of and power over men, an extra glass of red at lunch, the attention of women) and only a little of the dirty work. More chillingly yet, his deception spreads: he demonstrates how easy an imposture like this is to carry off, and his entourage, themselves waiting for a chance to push their luck or otherwise go off-book, laps it up.
If The Captain shapes up as a good deal more than just another black-and-white period piece, it's because Schwentke's script taps into a deep well of psychology, still recognisable today in the clique, the committee, the corporation: one bad apple, and the entire fruit basket can start to fester. It's just that the cover-up here, outlined in a grisly sequence around the halfway mark, involves bodies in a pit. Needless to say, there is a seriousness about this undertaking that wasn't readily apparent in, say, Flightplan. The second half digs in and doubles down on the consequences of Herold's actions, coming back up with a steady parade of horrors: mass executions, bodies blown to bits, a Salò-like retreat to a hotel, a forest overrun with skeletons. (That monochrome begins to resemble Schindler's List far less than it does Night of the Living Dead: one man gets bitten by the power bug, and soon everybody around him is infected.) They're kept from exploitation, however, by Schwentke's clear-eyed deconstruction of fascism as equal parts madness, virus, self-interest and shared delusion, a game that may start with dressing-up or role play, but which soon drags everybody south, if not underground, for real. The astonishingly bold closing images - too close to home to be as crass as they might have been, a coup de cinéma perhaps only someone who's worked in Hollywood would think to attempt - confirm The Captain as a film that speaks as unnervingly to 2018 as it does to 1945.
The Captain is now playing in selected cinemas.
Important to get out of the house when you're in your eighties. Faces Places forms the latest extension of that wanderlust cinema the director Agnès Varda has pursued ever since she veered off the beaten track of fiction into more essayistic territory some decades back, a film that carries us into the French provinces with the intention of meeting new people, sharing new ideas, and exploring those regions where art and life interact. She's found herself a fellow traveller this time: JR, thirtysomething whizzkid of French photography, whose self-image (pork pie hat, ever-present sunglasses that set his companion to thinking of Jean-Luc Godard) has been cultivated almost as carefully as Varda's Madame Pepperpot look. Put them together, as Faces Places does, and they could be a French Fred and Ginger: he gives her fresh eyes (and we learn her ocular health is not as it was), she gives him wisdom. They've been united by a shared desire to make art of the people for the people, and so we join them hitting the road as part of JR's Inside Out project, touring the backroads of France in a mobile camera truck, taking photographs of the locals that are then converted into huge billposters and pasted to the sides of homes and buildings. So: two artists at the wheel, a truck running on gas and toner, a populace awaiting their close-up. On y va.
The first surprise for British viewers will come from encountering a subtitled movie that so closely resembles an episode of Changing Rooms or DIY SOS in its form. Varda and JR freewheel into town after town, set about transforming the immediate eyeline, then present the results to those who live and work thereabouts. The last remaining tenant in a row of miners' cottages is moved to tears by the permanence this taskforce's art affords her; a farmer stands quietly proud upon seeing his image elevated to a scale usually reserved for A-listers on movie billboards; an abandoned housing estate is filled with life the authorities could never provide. Almost inevitably, Varda is drawn towards her beaches, and to the faces and places of her past, although one of the film's pleasures lies in the realisation that this pint-sized grandmother has become such a national treasure that everyone who falls within her orbit - the hip young JR, a passing gendarme, grizzled blue-collar types who might once have entertained the thought of voting Le Pen - feels obliged to defer to even her more fanciful creative requests. (Having Varda show up in one's hometown to take photos of your nearest and dearest must be like having Judi Dench pop into your community theatre to ask whether or not she could road-test a sonnet or two.)
The steady gathering of portraits - and the assiduous search for the exact right frame: fish on water tanks, dockers' wives on cargo containers - allows Faces Places to develop into a portrait in itself: here is rural France as it is/was at the very beginning of l'ère macronienne. Like the huge portraits that roll out of a slit in the side of JR's van, the film covers a lot of ground. While our creative prime movers are waiting for their photos to develop and the paste to dry, Varda's curious camera scoots off to furnish us with generally diverting sidebars on such diverse subjects as bell-ringing (in both its churchy and Anita Ward senses), goat farming and salt production; we're offered both a terrific sight gag involving a postman, and some consideration of what it feels like to retire. (The suggestion has been made that this will be Varda's final (ad)venture; when asked by JR why she's unafraid of death, her response is transcendentally simple: "Because that'll be that.") You're reminded that Varda's great triumph has been the sheer amount of life - her own life, and the lives of others - she's kneaded into her art; where her fellow New Wavers spent their careers becoming the kind of standalone (in some cases standoffish) figures they once extolled in prose, a collaborative exercise such as the one documented here - shot with JR, reliant on the willing participation of the people - begs reading as a crafty democratisation of the auteur theory, undertaken not by some great man, rather a four-foot-five inch woman.
There is, however, one subject who eludes Varda, not through any failing of her own. Late on, the travelling twosome head to Switzerland for a planned meeting with Godard; the only trouble is that Godard fails to show at the allotted place, leaving behind only a cryptic message for his pursuers. The snub is not untypical - Godard appeared only via videophone at this year's Cannes - but you can see how it hurts Varda, especially after she's paid such fond homage to the Louvre sequence in Bande à part. As the filmmakers rock up outside Godard's shuttered, apparently vacated house, it is as if an old friend no longer wants to come out and play. (Two especially poignant details from this sequence: JR vainly shouting "Jean-Luc?" at an upstairs window, and Varda tying the bag of brioche she's brought to the front door even after bursting into tears.) The inclusion of this unhappy non-rendezvous serves to set up a contrast between two strains of personality-driven art, one outgoing and open-minded, the other solitudinous and sententious, keener to impose itself than initiate any dialogue, far less interested in anything so trivial as people. (Is this just how men get with age?) In the next few years, film historians will have to weigh up both careers, both lives, and accept that both Godard and Varda did much to change our understanding of the cinema - but I think if you had to pick only one to spend any considerable length of time with, the choice would now be very easy. She's the one bringing pastries.
Faces Places is now showing in selected cinemas, and is available to stream via Curzon Home Cinema.
Saturday, 22 September 2018
To start out on a positive note: it's encouraging to know that our increasingly commercialised release schedules can still find room (albeit on just the one UK screen) for a leftfield oddity like Never Here, a notional thriller from writer-director Camille Thoman set on the spookier fringes of the Manhattan art scene. In a marketplace where audiences turned a collective nose up at the AI-enhanced killing machine of last month's Upgrade, Thoman's film is almost certainly doomed from a commercial perspective, but it's reassuring to think someone thought it worth taking a chance on. Mireille Enos (from the US redo of TV's The Killing) plays Miranda Fall, a Sophie Calle-like conceptual artist introduced at the opening of her new, acclaimed show, themed around the contents of a stranger's phone that she found lying in the street. Her own security comes under review after she and mentor-lover Paul (Sam Shepard, typically classy in his final screen appearance) witness a woman being attacked outside her apartment one night. The police prove no help whatsoever in tracing the assailant; Miranda's own investigations reveal only the limits of her creative control - and, alas, Thoman's limits, too. I say notional thriller, because the film displays the glacial-to-listless pacing and terminally off-kilter framing of shrug-worthy video art.
Everything put before us is slightly, deliberately off. Enos's unnerving smile, simultaneously pained and spaced out, is that of a woman coming around from extensive dental surgery; the supporting cast drift in and out of these sets in disconcerting ways; and Thoman puts weird emphases on props, signs and lines of dialogue, casting out so many red herrings that they start to obscure what she's actually getting at. Very soon, Never Here assumes the look of a failed experiment, the work of a filmmaker entering a new medium (Thoman comes from theatre) and determining to use every effect available to her over two hours of cinema. Artless zooms predominate, as do scenes that find the camera creeping up on the central character from various angles to doubly, triply, quadruply underline a point - this woman feels somebody's watching her - that has long been understood. (There's about 20-25 minutes' footage of the Enos nape, which even admirers would surely concede is too much.) It's a minor problem that the film never manages to escape its comfortably appointed boho bubble - that it is, in the end, very much a film about a celebrity artist who, in the middle of a loft renovation, comes to worry that someone's moved her chaise longue. It's a much bigger one that it should inhabit this space in such a heavyhanded, dully unengaging manner, without a trace of Calle's wit or playfulness.
Never Here is now playing at London's Prince Charles Cinema.
Friday, 21 September 2018
The Intent 2: The Come Up **
Dirs: Femi Oyeniran, Nicky “Slimting” Walker. With: Ghetts, Ashley Chin, Femi Oyeniran, Nicky “Slimting” Walker. 103 mins. Cert: 15
For those who missed it, 2016’s The Intent was a late, independently produced entry in the cycle of inner-city British crime dramas; its rough, grime-infused edges differentiated it from Noel Clarke’s upwardly mobile ‘Hood series, but made for an unintentionally gruelling watch. Money has now been found for a prequel, which proves a touch more polished – an offscreen partnership with Island Records carries the first film’s stick-up crew to Jamaica – yet suffers from the same underlying flaws. Writer-performers Femi Oyeniran and Nicky “Slimting” Walker are simply far more interested in filming themselves wielding shotguns in fetishizing slo-mo than they are in putting in the hard yards of character, or telling a coherent story.
For a long time, there’s evident confusion as to what film The Come Up intends to be. After a nostalgic prologue, where a This is England-style houseparty is rudely interrupted by a pistol-packing child, it shifts into a promising prison stretch, before springing its two thousand characters – a role for every last member of the directors’ entourage – with a few clumsy lines of exposition, and EasyJetting them all into Kingston for an even cheaper The Harder They Come. For all Chris Blackwell’s largesse, the budget never seems big enough to stretch in any one direction: hence the early pursuit conveyed chiefly by asking the performers in one car to look very intently into the rear-view mirror and describe the unseen vehicle behind.
Less woebegone elements include superior location work, cinematographer Tom Watts giving even a passing nocturnal insert of a Costcutter a vaguely Hopper-ish allure; Adam Deacon, displaying newfound assurance as the junior crimeboss tailing our antiheroes; and Sharon Duncan-Brewster, commendably no-nonsense in running an empire from the back of a beauty salon. Time and again, though, a near-fatal combination of creative ADHD and directorial ego yanks us away from these strengths and back towards these films’ dunderheaded raison d’être: giving posturing musicians-not-quite-turned-actors the chance to engage in generally indifferent gunplay. If diptych begets triptych, the ratio of swagger to basic competency will need addressing.
The Intent 2: The Come Up opens in selected cinemas today.
Thursday, 20 September 2018
The British documentarist Sean McAllister first seized cinephile attention with 2015's A Syrian Love Story, which brought a sometimes distant-seeming conflict into sharp, stark, emotionally potent focus by following one relationship over several years. McAllister's follow-up A Northern Soul is a homecoming of sorts, returning the filmmaker to his native Hull at an interesting moment: early 2017, when the European City of Culture celebrations were first gearing up (McAllister served as artistic director for the spectacular opening ceremony), the diffuse cloud of Brexit was looming large (Hull voted 68-32 to leave the EU), and a half-decade of Tory austerity cuts were beginning to bite hard. Again, he finds the personal in the political (and vice versa) by tagging along in the wake of a friend: Steve Arnott, a fortysomething warehouse operative, young Mark E. Smith lookalike and rap enthusiast, whose contribution to the city's artistic beanfeast was to tour schools with the Beats Bus, a mobile recording van in which local children could lay down beats and rhymes of their own. While he does the rounds with that project, McAllister very precisely pins down the finer details of where Steve is in life: living with his mum after the collapse of his marriage, stuck with nine thousand pounds' worth of payday loan debts, a ninety-minute drive away from the daughter he dotes upon. Still, he soldiers on; he gives back. Only rarely does McAllister find him complaining about his lot - though it does seem a lot.
The film born of this careful, intimate portrait turns out to be two documentaries in one, and it's a testament to McAllister's editorial skill that he finds the right balance between them at any given point in Steve's progress. The more conventional of these two films - what we might call the poptimists' film - takes in the joy that follows whenever Steve sets foot inside a classroom and begins breaking the basics of rap down for the benefit of visibly enthused youngsters; his tutelage transforms the shy into camera-hogging, mike-dropping MCs, habitual stutterers into bolshy wordsmiths, troublemakers into artists. (A point is subtly made: here is the kind of elevating arts education our current administrators are quietly defunding and dropping from the curriculum.) There might well have been a straightforward commercial hit in that movie, yet McAllister also wants to show us something more: the hard graft of everything else in Steve Arnott's life. It's the 4:40am starts on cold winter days; the pressure that comes from trying to combine this volunteer work with a full-time paying gig; the stark reality of being forty years old and having no kind of job or life security whatsoever. Every now and again, the two films merge. In the aftermath of a public performance, we find one child in tears because his dad couldn't get time off work to see him. (Again, it's not dwelt on, but there may be something telling in the fact the kids are performing a post-Hamilton number about the city's links to slavery.)
McAllister's theme, it transpires, is men at the mercy of a system that permits very little other than work; he has returned to this City of Culture to illustrate just how hard it is nowadays for anyone to be cultured, creative, or more than a cog in a machine. The most damning development comes halfway through, when the employer that provided Steve with the Beats Bus hauls him in for a performance review that rules he's been spending too much time away from the workplace, and promptly removes him of his hard-earned bonuses; mulling this decision over a pint, Steve declares - with typical practicality, and some of the language that made the film's original certificate a bone of contention - "Fuck being a starving artist." At 70 minutes, it feels brief, especially when set against its epic-seeming predecessor (itself only 76 minutes; McAllister makes his points with admirable economy): I couldn't help but wonder how Steve voted (if he voted) back in May 2016, although we must concede not everything has to be about Brexit, and that such information may have altered viewer perceptions one way or another. (As it is, A Northern Soul sets itself up nicely for a sequel: where will this man, this community, this country be in two years' time?) There's a forceful honesty, however, to the way McAllister's camera keeps rolling after school, to witness Steve collapsing on his mother's sofa - partly from exhaustion, partly in despair - and wondering, as many have, why on earth he's bothering. Anyone fool enough to doubt the generosity or work ethic of the people of the North, look sharpish.
A Northern Soul is now showing in selected cinemas.
Tuesday, 18 September 2018
2016's The Intent has stood for a while as the last, sobering spin in that low-budget British hood cycle initiated by Noel Clarke: the target audience may well have grown up, the industry has veered off in pursuit of exportable Downtoniana, and most sentient adults have agreed that fetishised knife and gunplay probably isn't the healthiest thing for filmmakers to be putting out onto the streets. Its rougher edges initially make it a more intriguing proposition than Clarke's polished, upwardly mobile product (some of which, lest we forget, was sponsored by Costa Coffee). Directors Femi Oyeniran and Kalvadour Peterson recruit non-professional actors (many of whom hail from grime music) and foster a semi-improved performance style, heavy on a street slang the Netflix subtitlers prove almost wholly incapable of handling. There's an underlying bathos, however, in the fact the narrative should rest so heavily on a matter of nominative determinism: introduced cradling a pistol as a child, our narrator Gunz (Dylan Duffus, discovered in Penny Woolcock's One Mile Away) finds himself caught between loyalty to his South London stick-up brethren and doing the right thing for the wider community. (He would presumably have found life that much easier if he'd adopted the street name Sconez or Daisiez.)
There's less of that slumming imposture written through the comparable Clarke films - little sense of RADA-trained actors acting street so as to make off with already deprived viewers' pocket money - but these rough edges often stray into rank amateurism. The Intent is impossibly slack and unfocused in its plotting, and vague around even its central characters: a major revelation about Gunz at the half-hour mark is all but forgotten about for the rest of the movie, as Oyeniran and Peterson switch their attention to shooting montages of dirty money changing hands, and images of what that money can buy a man - flash motors, sex in nightclub toilets, lots of lovely drugs, and lapdancers to snort those drugs off. (Men account for something close to 95% of the credited roles, which possibly explains the bellendrical division of the film's female characters into nags and slags.) There's clearly still cash aplenty in these ghetto entertainments, but increasingly, they've come to seem like a creative dead end, a last, desperate resort for aspirant filmmakers and viewers alike: Clarke blew a lot of energy and much of his industry goodwill on the subgenre, BAFTA Rising Star winner Adam Deacon briefly lost his mind fighting its battles. All involved here clearly think it's an avenue worth pursuing - a prequel opens in the UK this weekend - but they might do well to heed the one genuine nugget of wisdom lost in the fog of their own script: "Don't be so busy making a living that you forget to make a life."
The Intent is now streaming on Netflix; The Intent 2: The Come Up opens in cinemas nationwide this Friday.