Category: Feature

2011: A Film Bloggers Retrospective

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In the middle of last year, I – a budding cinephile – made the decision to become a film writer. A month or two after this rather out-of-the-blue decision, I successfully applied to write for (according to up-to-date Wikio stats) the UK’s top film website HeyUGuys. Subsequently, I created my own blog, Centrefolds & Empty Screens: a sanctum for me to convey my love of cinema through reviews and other, more personal posts. However, it wasn’t until this year that I grew more confident in myself (though that’s not saying much as I still often doubt my abilities) and started to gain recognition from Continue reading “2011: A Film Bloggers Retrospective” →

Worst Ten Films Of 2011

Jamie Neish2 Comments

Looking down at my worst of 2011 list it seems I managed to avoid many of this year’s cinematic duds, but let me tell you that having to sit through the animation atrocity that was Mars Needs Moms, the ice cold Chalet Girl and Dream House, the horror-thriller no-one wanted to be associated with, was more than enough to see me through.

The films I’ve chosen – and believe me when I say it was a very easy process – are what I believe to represent the most reprobate films I saw Continue reading “Worst Ten Films Of 2011” →

Best Ten Films Of 2011

Jamie Neish2 Comments

While 2011 hasn’t exactly been a year of record-breaking box office success, it has been a fantastic one for British cinema, emerging talent and unique independent features which found themselves surpassing the popularity of many much bigger movies.

The films I’ve chosen – and believe me when I say it wasn’t an easy process – are what I think represent the pinnacle of the cinema I Continue reading “Best Ten Films Of 2011” →

Film Blogging: A 22-Year-Old’s Experience

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I realise that coming from a little known film blogger in the depths of Scotland this post might seem a little self-indulgent, attention-seeking and pointless, but I’d like to speak for a minute about my experiences with film blogging and what it’s done for me over the past 12 months.

Early last year I thought to myself that I’d like to try and translate my love for all things cinema-related into words. I’ve long been a devoted cinephile, but I felt it was time to implement my very own blog with reviews, film news and interesting articles that represented both myself as a person and as a complete film obsessive. Continue reading “Film Blogging: A 22-Year-Old’s Experience” →

Feature: Top Ten Films Of 2011: January – June

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So far, 2011 has been a fantastic year for film. Below, I’ve compiled a list of my ten favourites from the last six months, with a few honourable mentions that just missed out on a place. Finally, I’ve listed some somewhat less honourable mentions that you should probably avoid at all costs.

10. Never Let Me Go (February 2011)

Mark Romanek’s shamefully overlooked adaptation of Kazuo Ishiguro’s momentous novel Never Let Me Go wasn’t exactly the hit Fox Searchlight were banking on, but that didn’t stop it being a beautifully explorative, acted and directed piece of cinema.

9. Animal Kingdom (February 2011)

This Australian crime-thriller rose from the underbelly, picking up momentum thick and fact for its astoundingly honest portrayal of a fully functional crime family. Striking direction, raw performances and compelling source material have made well worth seeking out.

8. Archipelago (March 2011)

Joanna Hogg’s stark look at family turmoil is beautifully captured and carefully paced to provide a deeply resonant and affecting glimpse into the highs and lows of family life and what makes people tick.

7. Heartbeats (May 2011)

Multi-faceted Xavier Dolan follows in the footsteps of acclaimed filmmakers Gus Van Sant, Pedro Almodóvar and Wong Kar Wai to write and direct Heartbeats, a film of true beauty, wisdom and depth beyond its years.

6. Arrietty (June 2011 – EIFF)

Studio Ghibli’s sprightly interpretation of Mary Norton’s acclaimed children’s book The Borrowers is directed by Hiromasa Yonebayashi, under the watchful eye of filmmaker extraordinaire Hayao Miyazaki. Arrietty boasts some truly illustrious animation and a score by French musician Cecile Corbel that made me go weak at the knees.

5. Bridesmaids (June 2011)

Kristen Wiig, well known for her long-standing stint on Saturday Night Live, was launched to stardom with hit comedy Bridesmaids. Directed by Paul Feig, the film features an array of flawless comedic performances, unforgettable gags and the goddess-like figure Rose Bryne.

4. Albatross (June 2011 – EIFF)

Niall McCormick’s British coming-of-age film premiered at the 65th Edinburgh International Film Festival to rave reviews. Written by burgeoning writer Tamzin Refn, Albatross is a fully realised and thought-provoking piece of cinema, chock full of heart, depth and humour to boot. If Jessica Findlay-Brown doesn’t become a star, then there’s something seriously wrong with the world.

3. Black Swan (January 2011)

Granted, this film opened last year in America, but due to different release schedules it was early January before I had a chance to see Natalie Portman give an Academy Award winning performance in Darren Aronofsky’s daringly dark psychological ballet thriller. Hauntingly brilliant.

2. Submarine (March 2011)

Former IT Crowd actor Richard Ayoade made his directorial debut with the mesmerising, outlandish and warm-hearted indie comedy Submarine. The entire cast, not least relative newcomer Craig Roberts, delivered remarkable performances.

1. Blue Valentine (January 2011)

This emotionally crippling insight into one couple’s turbulent relationship shot Ryan Gosling and Michelle Williams back into the limelight, and earned them a few dozen award nominations in the process. After years of suffering various unfortunate setbacks, Derek Cianfrance’s passion project came to fruition with such intensity that it was hard to ignore. From the offset I was hooked, so it’d be impossible for Blue Valentine not to be my top film of the year so far.

Films of notable interest: Hobo With A Shotgun, Trust, Project Nim, Attack The Block, Rango, The Extraordinary Adventures Of Adèle Blanc-Sec, Rubber, Pina 3D, Scream 4, Winnie The Pooh, Meek’s Cutoff, X-Men: First Class, The Silent House, 13 Assassins, Perfect Sense, Thor and Cave Of Forgotten Dreams.

Films to think no more of: Mars Needs Moms, Larry Crowne, Ghosted, I Am Number Four, The Rite, Faster, Chalet Girl, Red Riding Hood and Battle: Los Angeles.

Almodóvar Retrospective #3 – Dark Habits

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To mark the release of Pedro Almodóvar’s eighteenth feature film The Skin I Live In on August 26, I’ll be watching and reviewing one of his films per week in the hope of examining the acclaimed Spanish filmmakers extraordinary vision and knack for storytelling through his resonant filmography.

This week: Dark Habits

Dark Habits was Almodóvar’s third feature feature-length film, and the first to be made readily available on DVD in the US. The film revolves around nightclub singer Yolanda Bel (Cristina Sánchez Pascual), who seeks asylum in a Madrid convent after delivering strychnine-laced heroin to her boyfriend and fleeing the police.

With the plot synopsis you’d be prone to think that Dark Habits was a madcap affair. However, the result is more nuanced than you’d expect, with Almodóvar more considerate and respectful of his characters this time around. He lets them come into their own and replaces many of the melodramatic plot scenarios seen in Pepi, Luci, Bom And Other Girls Like Mom and Labyrinth Of Passion with more involved artifices. This growth in storytelling sees the characters’ individual arcs tied together into a much more satisfying whole, delivering a more rounded and sophisticated experience when compared to the clunky nature of his first two films. It’s clear he’s becoming less obsessed with melodrama and more interested in the dramatic.

Almodóvar’s direction reflects the laid-back and curious sentiment he holds for the characters and their respective plot-threads. In turn, he opts for long takes and observing camera angles, rather than the imposing and busy style we’ve become accustomed to. Dark Habits still emphasises Almodóvar’s reliance and fixation on bold colours, bizarre costume, and spunky decor, but they aren’t as in-your-face or obtrusive, which clearly shows that not only is Almodóvar evolving as a storyteller, but also as a director.

The performances within Dark Habits are subdued in a way that doesn’t always reflect the wacky makeup of the collection of characters on display: from drug addicted murderesses to berserk prostitutes. None of the characters engage in the way so many from Almodóvar’s future projects do, and they often remain as restrained as the uncharacteristically muted colour palate of the set design. Even though this can be chalked down to lack of experience, when you see how human and sympathetic Almodóvar makes certain characters in his latter films, you’d be excused for feeling a little disappointed at his lack of adventurousness here.

Dark Habits may be, at times, be clunky, flat and too restrained for its own good, but it does demonstrate Almodóvar’s growth, his developing interest in deeper, more affecting subject matter and his overall desire to strike the right balance between melodrama and straightforward drama. It’s an uneven piece of filmmaking, but perhaps the most reflective of Almodóvar’s true intention as a filmmaker to date.

Next week: What Have I Done To Deserve This?

Almodóvar Retrospective #2 – Labyrinth Of Passion

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To mark the release of Pedro Almodóvar’s eighteenth feature film The Skin I Live In on August 26, I’ll be watching and reviewing one of his films per week in the hope of examining the acclaimed Spanish filmmakers extraordinary vision and knack for storytelling through his resonant filmography.

This week: Labyrinth Of Passion

Labyrinth Of Passion was Almodóvar’s second feature feature-length film, and it saw both a marked technical and visceral improvement on Pepi, Luci, Bom And Other Girls Like Mom. The film is about four central characters:  Sexilia (Cecilia Roth), a nymphomaniac; Sadec (Antonio Banderas), a gay Islamic terrorist; Riza Niro (Imanol Arias), the son of the emperor of Tiran; and Queti (Marta Fernández Muro), the daughter of a dry-cleaner. When Riza Niro discovers that Sadec and his colleagues are after him, he disguises himself as a punk rocker, and falls in love with the stunning Sexilia, his first straight relationship. Meanwhile Queti, Sexilia’s “biggest fan”, helps Sexilia come to terms with her new life-style.

As you would expect from such an array of gender confused characters, they spend a fair amount of the running time stoned or indulging in a multitude of other carnalities, but, to the films merit, everyone slots neatly into their clearly defined roles with an unsettling yet nonchalant ease. From the beginning, Labyrinth Of Passion is fast-paced, camp, brazen, trashy, frivolous, and flippant. In simple terms, it does exactly what it says on the tin, and has a lot of fun in the process.

As expected, the film has a unmitigated look, filled with outlandish costumes, a gallery of psychedelic colours, and ridiculously excessive hairdos that stand out against the drab city backdrop. Despite this, Almodóvar directs with a notably naturalistic eye which lends the proceedings an almost plausible air, making the weird and wacky characters seem very much as ease with their absurd lives and Madrid’s unorthodox aura.

While there’s no specifically brilliant performances on display and, with a cast of larger than life characters, it’s difficult to emote with anyone in particular. Each cast member delivers an enthusiastic turn, adding a certain personal touch to the ensuing mayhem. Banderas (who becomes a frequent collaborator with Almódovar in later films) has a small, yet alluringly arousing role as an Islamic terrorist who uses his sense of smell to track down and kidnap the emperor’s son, while Almodóvar himself makes an inspired cameo appearance as a leather clad transvestite pop singer, wonderfully blurring the line between artist and art.

Labyrinth Of Passion supplies a very early glimpse of Almodóvar’s talents and the themes which he re-addresses in greater depth in his later films, though arguably with less spirit and boyishness enthusiasm than is on display here. It may be, at times, a messy, chaotic and unfocused mind fuck, but it’s certainly one that demands attention as a piece of wild cult cinema from a burgeoning director discovering his voice.

Next week: Dark Habits

Almodóvar Retrospective #1 – Pepi, Luci, Bom And Other Girls Like Mom

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To mark the release of Pedro Almodóvar’s eighteenth feature film The Skin I Live In on August 26, I’ll be watching and reviewing one of his films per week in the hope of examining the acclaimed Spanish filmmakers extraordinary vision and knack for storytelling through his resonant filmography.

This week: Pepi, Luci, Bom And Other Girls Like Mom

Pepi, Luci, Bom And Other Girls Like Mom was Almodóvar’s first feature-length film, and it follows the adventures of the three titular characters: Pepi (Carmen Maura), who wants revenge from the corrupt policeman who raped her; Luci (Eva Siva), a mousy, masochistic housewife; and Bom (Olvido Gara), a lesbian punk rock musician.

If Almodóvar’s aim was to distress his viewers, then he has done so admirably – in fact, most of the narrative is spurred on by Almodóvar’s insistence on transposing the taboo-ridden society by using various shock schemes, such as Pepi’s rape, Luci’s uncomfortable obsession with a 16-year-old punk rocker, and an abrupt “golden shower” scene. However, the sections in between feel out of place and all too dull in comparison, betraying the fact that the director was at the start of his career, and had a lot to learn in terms of seamlessly blending the exploration of illicit subjects with a cohesive and enchanting story.

The instinctive and visionary style we’ve come to expect from Almodóvar is present, but in an altogether limited and immature capacity. Almodóvar basks the film in rich, buoyant colours, and uses them to symbolise and accentuate sanctioned themes such as homosexuality, the sexual and moral freedom of women, and the liberation of society. However, with a limited budget and a sense of naivety, the mix of harsh reality and subversive humour doesn’t work on the palatable level he achieves today.

In terms of acting, Maura – who plays boundlessly energetic Pepi – is the only of the three central actresses that stands out. Maura’s role, which admirably personifies the film’s shock-value spirit, is that of an innocent, naive girl who, after a loutish policeman rapes her and steals her virginity, suddenly becomes a frightening, forceful woman hellbent on revenge.

Siva and Gara, who play Luci and Bom, were both respectable enough, developing their individual characters’ personalities in a believable way as they experienced set-backs and glorified highs. Nevertheless, both were portrayed in contradictory ways by Almodóvar – something that doesn’t sit pretty with the overall intention of the film and character arcs. The male characters of the film are tentatively kept in the background and painted in a bad light, further emphasising Almodóvar’s desire to show that women are much stronger than men.

While it may not be as robust as Almodóvar’s recent films, Pepi, Luci, Bom And Other Girls Like Mom is certainly him through-and-through; albeit a more insecure and disconcerted version of the director we’ve come to regard so highly. Even so, the film perfectly managed to capture the spirit of the times – above all the sense of cultural and sexual freedom – when Spain was finding its voice again after years of being silenced by dictator Francisco Franco.

Next week: Labyrinth Of Passion

Feature: 30 Most Anticipated Films Of 2011

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2011 is shaping up to be a wonderful year for cinema, with a lot of big name and word-class directors offering up new films across a wide range of genres. Here’s the thirty I’m most looking forward to:

1. Black Swan

Darren Aronofsky’s highly acclaimed psychological ballet drama finally hits UK cinemas. This one stars Natalie Portman, Mila Kunis, Vincent Cassel and Winona Ryder.

2. Blue Valentine

Derek Cianfrance’s juxtaposing relationship drama, starring Michelle Williams and Ryan Gosling.

3. Submarine

Richard Ayoyade’s comical coming-of-age directorial debut, starring Craig Roberts, Yasmin Paige, Sally Hawkins and Paddy Considine.

4. Sucker Punch

Zack Snyder’s futuristic action-fantasy film, starring Emily Browning, Abbie Cornish, Jena Malone and Vanessa Hudgens as girl’s willing to do anything to survive.

5. Scream 4

Wes Craven returns to the Scream franchise, along with regular actors Neve Campbell, Courteney Cox and David Arquette. New recruits include Emma Roberts, Adam Brody and Hayden Panettiere.

6. Your Highness

David Gordon’s Green hilarious-looking medieval stone comedy, starring James Franco, Danny McBride, Natalie Portman and Zooey Deschanel.

7. The Skin That I Inhabit

Pedro Almodovar re-teams with Antonio Banderas for terror film The Skin That I Inhabit.

8. Attack The Block

Directed by Joe Cornish, this south London comedy-action film pitches a gang of youths against an alien invasion. Nick Frost, Jodie Whittaker and Luke Treadaway star.

9. Pirates Of The Caribbean: On Stranger Tides

Johnny Depp returns as Jack Sparrow for a fourth installment in the colossal Pirates Of The Caribbean franchise, this time with new faces (Penelope Cruz and a surprise Judi Dench appearance) and a new director (Rob Marshall).

10. Bridesmaids

Judd Apatow produces Paul Weig’s comedy about two women dueling for the perfect wedding, starring Kristen Wigg, Rose Bryne and Jon Hamm.

11. Paul

Nick Frost and Simon Pegg reunite for an ensemble alien road movie. Greg Mottola directs.

12. Melancholia

Lars Von Trier returns with a psychological disaster film, starring Kirsten Dunst, Charlotte Gainsbourg and Keifer Sutherland.

13. Harry Potter And The Deathly Hallows: Part 2

The final installment in the globally successful Harry Potter franchise, featuring Harry, Ron and Hermoine as they race against time to kill Voldemort.

14. X-Men: First Class

Kick-Ass director returns to the superhero genre with an X-Men prequel showing how Professor X (James McAvoy) and Magnet (Michael Fassbender) met and the first time they discovered their powers.

15. Wuthering Heights

Andrea Arnold follows-up the critical darling Fish Tank with an adaptation of Wuthering Heights, starring Kaya Scodelario, Nichola Burley and Oliver Milburn.

16. Contagion

Steven Soderberg’s film centered on the threat posed by a deadly disease, starring Jude Law, Matt Damon, Kate Winslet, Gwyneth Paltrow and Marion Cotillard.

17. The Adventures Of Tintin: The Secret Of The Unicorn

Steven Spielberg and Peter Jackson collaborate on a 3D motion capture film based on the comic books created by Belgianartist Georges “Hergé” Remi about an adventurer, Tintin (Jamie Bell), and his white dog Snowy.

18. Fright Night

Craig Gillespie directs a remake of Tom Holland’s 1985 original horror, starring Colin Farrell, Anton Yelchin, David Tennant and Toni Collette.

19. A Dangerous Method

David Cronenberg’s historical biopic focusing on the turbulent relationship between Carl Jung, Sigmund Freud and Sabina Spielrein, the woman who comes between theme.

20. Cowboys & Aliens

Jon Favreau teams James Bond (Daniel Craig) with Indiana Jones (Harrison Ford) for this genre-blurring science-fiction western film.

21. Wanderlust

Producer Judd Apatow teams with Jennifer Aniston for a sexy comedy that could well reignite her struggling career. David Wain directs, with Paul Rudd, Lauren Ambrose and Malin Akerman also starring.

22. Hanna

After the acclaimed Atonement, Joe Wright switches genres with this action-thriller starring Saoirse Ronan, Cate Blanchett and Eric Bana.

23. Route Irish

Ken Loach’s study into the consequences suffered by private security contractors after fighting in the Iraq War opened to lukewarm reviews at Cannes, but features a vigorous performances from Mark Womack.

24. We Need To Talk About Kevin

Lynne Ramsay’s long-awaited return to directing. We Need To Talk About Kevin is an adaptation of Lionel Shriver’s novel of the same name and stars Tilda Swinton, John C. Reilly and Ezra Miller.

25. Thor

Marvel’s latest superhero incarnation to hit the big screen, directed by Shakespearean thesp Kenneth Branagh and starring Chris Hemsworth, Anthony Hopkins, Natalie Portman and Tom Hiddleston.

26. The Darkest Hour

A new science-fiction film starring Olivia Thirlby and Emile Hirsch as young people caught in an alien invasion. Chris Gorak directs, with Timur Bekmambetov producing.

27. War Horse

Steven Spielberg’s adaptation of Michael Morpurgo’s acclaimed children’s novel War Horse, starring Peter Mullan, David Thewlis, Emily Watson and Stephen Graham.

28. The Invention Of Hugo Cabret

Martin Scorcese’s first foray into 3D, featuring a cast including Sacha Baron Cohen, Chloe Moretz, Jude Law, Christopher Lee and Ben Kingsley.

29. The Tree Of Life

Terrence Malick’s long-delayed film about the quest to regain the meaning of life, starring Brad Pitt, Sean Penn and Jessica Chastain.

30. Sherlock Holmes 2

Guy Ritchie returns to direct a sequel to the 2009 box office success. Sherlock Holmes re-teams Robert Downey Jr. and Jude Law, with new additions including Noomi Rapace and Stephen Fry.

Feature: Worst Films Of 2010

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1. Gulliver’s Travels

Gulliver’s Travels is, quite simply, an abomination to cinema.

2. Clash Of The Titans

Clash Of The Titans is a long, dull and ludicrously bad film, even with the unnecessary extra dimension.

3. Legion

Legion is an audacious, flat film overloaded with atrocious special effects.

4. A Nightmare On Elm Street

A Nightmare On Elm Street is a truly irrelevant horror remake.

5. The Bounty Hunter

The Bounty Hunter is a misguided, dull, shambolic, unnecessary mess of a film, with dire performances from both Jennifer Aniston and Gerard Butler.

6. Hot Tub Time Machine

Hot Tub Time Machine is a bland, vulgar and tremendously unnecessary supposed buddy comedy.

7. Burke & Hare

Burke and Hare is a disappointing, idiotic mess. The script was atrocious and failed to utilise it’s impressive cast and director.

8. The Tourist

The Tourist is a flaky and formulaic action comedy, starring two top actors with no chemistry, struggling to ignite a badly written script.

9. Due Date

Due Date, however hard it tries to be funny, is, in truth, abrasive, uncomfortable, witless and generally a huge disappointment considering its potential.

10. Youth In Revolt

Youth In Revolt is a restless and ruly, only generating a hand full of guilty smirks.