Kung Fu Panda 2
Director: Jennifer Yuh
Starring: Jack Black, Angelina Jolie and Dustin Hoffman
Honey 2
Director: Bille Woodruff
Starring: Katerina Graham, Mario López and Audrina Patridge
Kaboom
Director: Gregg Akari
Starring: Thomas Dekker, Haley Bennett and Chris Zylka
Mother’s Day
Director: Darren Lynn Bousman
Starring: Rebecca De Mornay, Deborah Ann Woll and Shawn Ashmore
Point Blank
Director: Fred Cavayé
Starring: Gilles Lellouche, Roschdy Zem and Gérard Lanvin
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Synopsis: Hubert (Xavier Dolan), 16-year-old closeted homosexual, can’t stand his mother, Chantale (Anne Dorval). Everything about her irritates him, from her vulgar behaviour to her bad taste in wardrobe. But when he criticises her, she feigns indifference. One day he announces his decision to leave home, to go to live with his best friend Antonin (François Arnaud). She gives in, but a few days later, when she finds out from Antonin’s mother that the two boys are lovers, she changes her mind. Hubert is furious and runs away. He stays with a teacher who is sympathetic to his dilemma, but Chantale, tired of this ongoing war, turns to the boy’s father to see if he can reason with their son.
I Killed My Mother, actor/director Xavier Dolan’s widely praised directorial debut, is, in simple terms, a portrait of the complex bond between a young man and his deplorable mother. Dolan’s pivotal adulation for cinema is clearly reflected through his filmmaking style, and the way he borrows tricks – slow motion and penetrating camera angles – used by filmmakers he is clearly trying to emulate – Gus Van Sant, Gregg Akari and Pedro Almodóvar are three names that leap to mind. However, instead of blatantly copying these techniques, he adapts and weaves them into his own brand of storytelling, making them very much his own style and reflection of his own creativity.
He uses the camera and frame positioning to beautifully emphasise the separation of mother and son, which, considering he’s also the films central character, is not only an incredible achievement for a first time director, but also a mind-blowing one for someone so young and inexperienced. The camera, which is almost entirely locked into medium shot or extreme close up, never lets the characters out-of-sight, and sublimely captures the angst and emotionally shutdown nature of their lives. In addition, the film is beautifully scored by Nicholas Savard-L’Herbier with sounds that seamlessly compliment the tone and emotional distortion of the exceptionally constructed and procured scenes.
The script, also a product of the multi-talented Dolan, is well-paced, insightful and unexpectedly packed full of dark humour. The dialogue is forthright and unpredictable, which makes it even more believable, as if coming straight from Dolan’s childhood. The relationship between mother and son, though authentic for the most part, is made slightly less so by the constant arguments and shouting matches they share. Thankfully, then, the indisputable tension is broken up by a candid monologue by Hubert, flashbacks to his idyllic childhood and once treasured relationship between mother and son, and a brilliantly conceived and executed illustration of homosexuality. For the most part, it’s a tremendous balance, even if it does start to feel a little too organised and pretentious towards the end.
The performances across the board are top-notch. Both Dolan and Dorval deliver astonishingly lifelike performances as Hubert and Chantale respectively. Dolan conveys the teenage angst terrifically, while Dorval balances Chantale’s clueless yet caring nature to truly wondrous avail, bearing much of her taut emotion in her eyes. Arnaud, Suzanne Clément and Niels Schneider, who fill out the more substantial supporting roles, each deliver equally fraught, imperative turns.
I Killed My Mother is, quite explicitly, a remarkable portrait of the tempestuous relationship between a mother and a son. Not only does Dolan display a strong cinematic eye and technical expertise beyond his tender years, but also the maturity to write a deeply resonant, almost semi-biographical, coming-of-age tale.
1. X-Men: First Class – £5,438,386
2. The Hangover Part II – £3,826,158
3. Pirates Of The Caribbean: On Stranger Tides – £2,144,179
4. Diary Of A Wimpy Kid: Rodrick Rules – £645,196
5. JLS: Eyes Wide Open – £463,914
6. Senna – £375,173
7. Ready – £236,868
8. Rio – £94.127
9. Fast Five – £77,874
10. Thor – £59,994
127 Hours
Director: Danny Boyle
Starring: James Franco, Amber Tamblyn and Kate Mara
Gnomeo & Juliet
Director: Kelly Asbury
Starring: Emily Blunt, James McAvoy and Ashley Jensen
It’s Kind Of A Funny Story
Director: Anna Boden and Ryan Fleck
Starring: Keir Gilchrist, Emma Roberts and Zach Galifianakis
The Mechanic
Director: Simon West
Starring: Jason Statham, Ben Foster and Donald Sutherland
Henry’s Crime
Director: Malcolm Venville
Starring: Keanu Reeves, Vera Farmiga and James Caan
Fire In Babylon
Director: Stevan Riley
Starring: Ian Botham, Colin Croft and Jeffery Dujon
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Synopsis: Po (Jack Black) the chop-sockey panda, returns for a new adventure, this time taking on evil Lord Shen (Oldman): a formidable enemy with a nasty secret weapon. Po is joined by his old buddies – Tigress (Angelina Jolie), Crane (David Cross), Mantis (Seth Rogen), Viper (Lucy Liu) and Monkey (Jackie Chan) – to protect the Valley of Peace.
Kung Fu Panda 2, the sequel to Dreamworks Animations’ heavily buzzed about Kung Fu Panda, is a wondrous equal to its perfectly enjoyable predecessor – if not slightly more sophisticated and well-rounded. The comedy, story and voice-work have all been upped in an attempt to combat sequel fatigue and, to the films merit, everyone pulls it off in a charmingly buoyant manner.
The script, penned by returning screenwriters Glenn Berger and Jonathan Aibel, is wonderfully paced, and a marked improvement on the original. Not only are Berger and Aibel able to strike the perfect balance between Po and the Furious Five’s quest to stop Lord Shen’s and Po’s heartbreaking discovery of his adoption, but they heighten the enjoyment factor with lampoonery, exhilarating action and the inclusion of an inspired kung fu-esque score by John Powell and Hans Zimmer. It’s not an easy task to alternate between the heaviness of characters lost childhood and spritely adventure, but Kung Fu Panda hits the nail on the head, exquisitely weaving the two strands together in a near seamless manner.
Director Jennifer Yuh Nelson oversees with a keen eye and indisputable zing that ensures Kung Fu Panda 2 preserves the marvellous spark and sheer gaiety that made the original so popular. A snappy pace and scenes that are choreographed with a distinct level of creativity – most notably the anime-infused flashback scenes revealing Po’s psychologically disturbed childhood and the hilarious Pac Man-esque chase sequence through Gongmen city – wholly infuse the film with an overarching fun disposition, and ensure the animation is as visually interesting and detailed as physically possible. The fact that Guillermo Del Toro acted as creative consultant shines through and indicates how dedicated Dreamworks Animation were to making a worthy sequel.
The film might boast first-rate animation and a refined script, but it’s the star-spangled voice-work that makes each and every madcap character stand out from the crowd and feel as integral as the last that is the films true prize. Black, in particular, gives a top-notch as the burgeoning Po, and is the ultimate heart and soul of the film. His personality has become so suffused with that of Po’s that it’s hard to think of them as two separate entities. Hoffman, Jolie and Rogen stand out amongst the supporting cast, each injecting the necessary laughs, thrills and enterprise into their roles.
It is, however, the new additions that steal the film. Oldman delivers a necessarily, and utterly convincingly level of menace as Lord Shen, while Yeoh and – try not to laugh – even Jean Claude Van Damme fit perfectly in their roles as Soothsayer and Master Croc, proving their worth as befitting additions to the already bountifully capable cast.
Kung Fu Panda 2 works not only as marvellous family entertainment, but also as an innovative and fervid animation spectacle, intercut with heartwarming revelations, thrilling action, skilful comedy, superlative voice-work, and a soaring soundtrack to boot. It’s a film for all ages, and one that unquestionably deserves to be cherished and enjoyed as much, if not more, than the first.
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1. X-Men: First Class – $56M
2. The Hangover Part II – $32.5M
3. Kung Fu Panda 2 – $24.3M
4. Pirates Of The Caribbean: On Stranger Tides – $18M
5. Bridesmaids – $12.1M
6. Thor – $4.2M
7. Fast Five – $3.3M
8. Midnight In Paris – $2.9M
9. Jumping The Broom – $865,000
10. Something Borrowed – $835,000
Follow @jamieneishTo 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?
Follow @jamieneishTo 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
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Synopsis: When the CIA discovers the existence of Mutants, telepath Charles Xavier (James McAvoy) is charged with recruiting a team to oppose the evil mutant Sebastian Shaw (Kevin Bacon) and the mysterious Hellfire Club. But not all of Xavier’s team share his vision of peace with humanity as the powerful Erik Lehnsherr (Michael Fassbender) becomes convinced of mankind’s intolerance of Mutants.
X-Men: First Class is 20th Century Fox’s chance to start over with the X-Men franchise, to iron out the creases and resolve the sour taste that the critically panned X-Men: The Last Stand left in viewers’ mouths. Thankfully, by bringing on board Kick-Ass director Matthew Vaughn and a crack team of screenwriters – including Vaughn’s Kick-Ass counterpart Jane Goldman – X-Men: First Class has truly reinvigorated the franchise. It has adapted, evolved and and, most importantly, re-imagined itself, rather than living in the shadows of Bryan Singer’s original X-Men franchise.
The script is tight and fast-paced, with very few dull moments throughout and, instead of focusing too heavily on big budget action set-pieces, Goldman and co. instead opt to create a more intimate character piece, knitting each one into the thoroughly realised 1960’s world. The ensemble characters’ passages are handled with such care, and intercut with such genuinely terrific yet retrained action sequences, that they don’t feel bogged down or too developed for their own good.
Instead, the film and its characters are set up in a timely and neat manner, before the focus quickly shifts to the tempestuous relationship between Charles and Erik, and urgent stoppage of Sebastian Shaw. Of course, this means that some of the supporting characters aren’t as explored as others – Emma Frost (January Jones) and Moria McTaggert (Rose Bryne) are two that instantly come to mind – but these are minor quandaries, and something that audiences have come to expect from comic book adaptations through the years.
Vaughn’s direction compliments the script wonderfully, and he impressively adapts to the kinetic adventure tone after the hardcore and R-rated blood-fest that is Kick-Ass. Through his enthusiastic eye, X-Men: First Class exudes charm, wit, excitement and moments of indubitable terror. What’s most impressive is the wonderful way in which he infuses all these different elements, enhancing the overall enjoyment of the film rather than simply letting it becoming too complicated for viewers to understand. Similarly, despite being set amidst the Cuban Missile Crisis, it manages to avoid tangling itself in a web of political inquisitions, remaining light, level-headed and to the point for its entire running time.
In terms of acting, McAvoy, Fassbender, Bacon and Jennifer Lawrence, in particular, immerse themselves in their respective roles, while Bryne and Nicholas Hoult do their best with their limited screen time. McAvoy and Fassbender are the undeniable nucleus of X-Men: First Class, with both exquisitely conveying the push-pull relationship between Charles’s quest for world peace and Erik’s attraction to evil. It is, essentially, a friendship between two men who know they need each other, but who are pulled apart by the different aims they possess.
Lawrence, in her first mainstream Hollywood role, holds her own as Raven/Mystique, bringing a remarkable level of susceptibleness and sobriety to her shape-shifting alter-ego, while Bacon is able to truly shine as the films central villain. Bryne and Hoult, despite being used so sparingly, both inhabit their roles with equal flavor, and we can only hope they are used more centrally in future X-Men instalments so they can prove their worth.
Some of the supporting cast, however, including, but not limited to Jones, Jason Flemyng and Lucas Till simply don’t have the necessary instruments to hold their own against such a heavyweight principal cast and are essentially brushed to to the side – though, in some ways, this is to the film’s merit.
Unfortunately, some precarious special effects – perhaps due to the time restricted post-production schedule – and an uneven middle act prevents X-Men: First Class from hitting the giddy highs some were anticipating. Even so, it’s a remarkably cohesive and assured origin story that deserves to be treasured and adored for its valiance and entertaining dexterity. All that’s left to say is, bring on X-Men: Second Class.
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Partially based on ex-prison officer Ronnie Thompson’s novel of the same name, Screwed centers on Sam Norwood (James D’Arcy), a former frontline soldier who finds himself working as a prison officer in one of Britian’s most deplorable insitutions. As the harsh realities of being a prison ‘screw’ take there toll, Sam finds solace in booze, drugs and prostitues, rejecting his family and slowly embroiling in a life he could never have imagined.
Director Reg Traviss and screenwriter Colin Butts try hard to inject verve and orginality into Screwed, most noticeably in the way Traviss eerily presents the drama from the ‘screws’ point of view and in Butts’ deft approach to Sam’s character. While these aspects are refreshing to see and make for a solid setup, the fact both Traviss and Butts revert all too easily back to the cliches and contivances of a typical prison drama – shoddy dialogue and over-the-top violence in particular – simply accentuates their overriding inability to carry things through and make Screwed an all together different experience.
It’s a welcome relief, then, that the cast are on top form. Clarke is suitably intimidating as head kingpin Truman, but unfortunately suffers from an underwhelming lack of presence and Butts’ discreditable lines. D’Arcy, on the other hand, steals the show in every scene, suitably conveying Sam’s fierce nature and difficulty adjusting to life away from Iraq. Frank Harper and Kate Magowan stand out as head ‘screw’ Deano and Sam’s discarded wife Danielle, respectively, among the adequate yet ashamedly squandered supporting cast.
No matter how hard it tries, Screwed can’t escape the shadows of the very best prison dramas it’s trying to emulate. Overstated, sleazy and cliche-ridden, it foolishly wastes a mostly reliable cast and tarnishes Thompson’s source material.
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