Shauna Macdonald, Alex Reid, Natalie Mendoza, Nora-Jane Noone, Saskia Mulder, MyAnna Buring
Dir. Neil Marshall
Scr. Neil Marshall
I’ve never been happier for a movie to end in my whole cinema-going life. That’s not to say that The Descent is a bad movie. Far from it. But, jeez, I was very scared. Very, very scared.
As a general rule, I don’t really like horror films. Mainly because they usually aren’t very good – not scary, unoriginal, predictable. There have been a few quality examples of the genre in the last decade, and most have come out of the UK rather than Hollywood. 28 Days Later, for example, and Dog Soldiers. And I would now certainly add The Descent to that list. And if we’re talking about pure horror, it would definitely top the list.
Neil Marshall wrote and directed Dog Soldiers, which is full of humour and bad visual effects and, although a terrific film, not hugely frightening. I was expecting a similar film when I saw The Descent but instead got a bloody terrifying, intense and gory venture underground.
The plot is nice and simple (as all good horror plots should be): six friends meet in the Appalachian Mountains for a fun day out caving. One of the friends, Sarah (Shauna Macdonald) is haunted by the death of her husband and daughter, which we see at the beginning of the film (not a nice way to go). These women are seasoned trampers/rock climbers/cavers/gung-ho fitness freaks … so what can possibly go wrong? In a word – everything.
From the moment the movie began until the moment it ended, I was either on the edge of my seat or hiding behind my hands. There is very little let-up – even the simple act of gazing out a window can have horrifying consequences. I was scared before they even got into the cave and way, way before the actual monsters appeared. It is quite a feat to maintain that level of intensity for pretty much the entire movie and that is probably The Descent’s greatest accomplishment.
Although the setting is not original (there have been many movies about stupid people who stupidly venture into stupid caves) it was certainly the best example I have seen – I was in a cinema with only four other people and yet felt extremely claustrophobic, physically ducking my head at times to avoid the rocks and walls the characters encountered. The monsters were pretty good but, to be honest, I was already so on edge that they could have been fluffy puppies and I still would have gasped in horror. They certainly provide some great material for nightmares.
I don’t want to ruin the story for anyone who wants to see it, so I won’t talk too much about the chain of events. Let’s just say, there’s a lot of dying and not much living. The end is a tad confusing, but it doesn’t detract from the film and it left me rather disturbed. The cast of mostly unknown actresses are pretty good, especially Macdonald who plays the haunted shadow of her former self superbly.
If you don’t fancy being terrified, avoid this film. It’s not an easy watch and I understand that many people go to the cinema to relax not scream. But if you like to be scared and taken on a thrill ride, see this low-budget, quality B-movie. I recommend taking someone with you, preferably someone you can hide behind.
---------------------------------------
Beth: I'm an English teacher, not f**king Tomb Raider.
Sunday, March 25, 2007
Sunday, March 18, 2007
The Squid and the Whale
Jeff Daniels, Laura Linney, William Baldwin, Anna Paquin, Jesse Eisenberg, Owen Kline
Dir. Noah Baumbach
Scr. Noah Baumbach
I saw the trailer for this film a while back, but never got around to seeing it at the cinema. It seemed like one of those films that could wait till dvd. And it is. But I’m disappointed I didn’t see it when it came out last year – it would have undoubtedly made it into my Top Ten of 2006.
Set in Brooklyn in the 1980s, writer and director Noah Baumbach tells the autobiographical story of his parent’s divorce and the effect it had on him and his little brother. It’s a very simple, common story, told here with just a handful of incredibly credible characters. The parents are selfish and petty, but not monstrous. The kids are disturbed, but they won’t end up shooting their classmates. Baumbach doesn’t make these characters into exaggerated caricatures, and movie is all the better for it.
But, as one character puts it, “joint custody blows”, and we certainly go through the lows and frustrations that face both kids of divorced parents and the parents themselves. This is a moving film – touching, sad, insightful. And into this, is woven some very clever humour – people trying to be something they are not; a son living up to the expectations of his literary snob of a father; the lengths some people go to to cry for help.
Jeff Daniels is perfect as a failing writer, trying desperately to do what he thinks is right for his sons and himself. Laura Linney, perhaps the most consistently convincing actress around, plays the mother with compassion and humour. William Baldwin has a small but important role as the kids’ tennis coach and a very endearing linguistic suffix. Anna Paquin is somewhat annoying in her role as a woman that threatens to drive a wedge between father and son. She just seems to be trying a little too hard.
But this film really does belong to Walt (Eisenberg) and Frank (Kline), as two brothers struggling to find their place in a new domestic situation. Eisenberg has the more central role, as you would expect – he is playing a young Baumbach. And he does so very well. But Kline really does steal the show. His antics – sexual discovery or perhaps just trouble making – are simultaneously so tragic and so funny. You really do feel for this young kid who doesn’t know who is he, suspects he may be a philistine (if only he knew what that meant), and is fast becoming an alcoholic before he even hits high school.
This is a funny film. It’s an endearing film. It’s melancholic but not depressing. In the end, you will feel uplifted and a little sad that you won’t see these characters again.
-----------------------
Sophie: I mean, it's gross when he turns into the bug, but I love how matter of fact everything is.
Walt: Yeah, it's very Kafkaesque.
Sophie: Cause it's written by Franz Kafka.
Walt: Right. I mean, clearly.
Dir. Noah Baumbach
Scr. Noah Baumbach
I saw the trailer for this film a while back, but never got around to seeing it at the cinema. It seemed like one of those films that could wait till dvd. And it is. But I’m disappointed I didn’t see it when it came out last year – it would have undoubtedly made it into my Top Ten of 2006.
Set in Brooklyn in the 1980s, writer and director Noah Baumbach tells the autobiographical story of his parent’s divorce and the effect it had on him and his little brother. It’s a very simple, common story, told here with just a handful of incredibly credible characters. The parents are selfish and petty, but not monstrous. The kids are disturbed, but they won’t end up shooting their classmates. Baumbach doesn’t make these characters into exaggerated caricatures, and movie is all the better for it.
But, as one character puts it, “joint custody blows”, and we certainly go through the lows and frustrations that face both kids of divorced parents and the parents themselves. This is a moving film – touching, sad, insightful. And into this, is woven some very clever humour – people trying to be something they are not; a son living up to the expectations of his literary snob of a father; the lengths some people go to to cry for help.
Jeff Daniels is perfect as a failing writer, trying desperately to do what he thinks is right for his sons and himself. Laura Linney, perhaps the most consistently convincing actress around, plays the mother with compassion and humour. William Baldwin has a small but important role as the kids’ tennis coach and a very endearing linguistic suffix. Anna Paquin is somewhat annoying in her role as a woman that threatens to drive a wedge between father and son. She just seems to be trying a little too hard.
But this film really does belong to Walt (Eisenberg) and Frank (Kline), as two brothers struggling to find their place in a new domestic situation. Eisenberg has the more central role, as you would expect – he is playing a young Baumbach. And he does so very well. But Kline really does steal the show. His antics – sexual discovery or perhaps just trouble making – are simultaneously so tragic and so funny. You really do feel for this young kid who doesn’t know who is he, suspects he may be a philistine (if only he knew what that meant), and is fast becoming an alcoholic before he even hits high school.
This is a funny film. It’s an endearing film. It’s melancholic but not depressing. In the end, you will feel uplifted and a little sad that you won’t see these characters again.
-----------------------
Sophie: I mean, it's gross when he turns into the bug, but I love how matter of fact everything is.
Walt: Yeah, it's very Kafkaesque.
Sophie: Cause it's written by Franz Kafka.
Walt: Right. I mean, clearly.
Hot Fuzz
Simon Pegg, Nick Frost, Jim Broadbent, Timothy Dalton, Edward Woodward … and many, many more
Dir. Edgar Wright
Scr. Edgar Wright & Simon Pegg
I was looking forward to this film like a kid looks forward to Christmas. Shaun of the Dead is genius cinema. Spaced is genius television. That’s a lot to live up to but I was confident Edgar and Simon could do it again. While Hot Fuzz certainly didn’t disappoint like socks at Christmas, neither was it a pony or a shiny new bike.
Simple premise: London cop extraordinaire, Nicholas Angel (Simon Pegg), is simply too good at his job so his jealous and petty colleagues transfer him to the sleepy village of Sandford, Somerset. Things are not as sleepy as they appear. Murder, gore, intrigue and hilarity ensue. It’s certainly not a startlingly original idea, but in the hands of Edgar and Simon, joined by almost every darling of British cinema from the last 30 years, it’s poetry in motion.
There’s a lot here to reward fans of Shaun, Spaced and almost every buddy-cop action movie ever made. The “cornetto” reference is from Shaun; the scene where Danny (Nick Frost) takes a bullet for Angel is from my favourite episode of Spaced; and … well, every scene with action, guns or gore can be seen as paying homage to the likes of Die Hard, Lethal Weapon, Bad Boys, Point Break and so on and so forth. There are so many in-jokes, in fact, that you’re not possibly going to catch them all the first time round. Which is clever – keeps you coming back for more.
There are plenty of laughs to be had. Belly laughs. Nick Frost is endearing and right on the money in this role, providing some of the best lines throughout the film. There are plenty of visual gags, some quite gruesome (the death of the reporter made me gasp loudly then nearly wet my pants with laughter, but that’s just me). If I had to pick one visual gag, it has to be the image of Angel flying through the air and delivering a kick to the face of an elderly woman. You just don’t see that every day. But it’s not all violence and gore. The script is clever, if somewhat predictable, and extremely quotable.
So, you might be asking, why isn’t Hot Fuzz a pony or shiny new bike? Well, it’s mainly a case of second-movie-syndrome. In my opinion, Shaun of the Dead was the best British comedy since Withnail and I. The expectation was that Hot Fuzz would blow us away. Well, while it was VERY funny and VERY clever, it wasn’t quite enough. It started slow. It was predictable. The style – the slick and fast camera work – has been done before … in Shaun. Having said that, I fully admit it might appeal to boys more than girls. My better half liked it more than Shaun of the Dead, perhaps because of the guns and bombs, who knows. But I’m more partial to a zombie theme, with some romance thrown in, than a piss-take buddy-cop movie.
By all means, see Hot Fuzz. You won’t be disappointed – it’s certainly worth $15 and a couple of hours of your precious time. Maybe though, like me, you won’t be utterly thrilled either. Edgar and Simon can be assured that I will be buying it on DVD however, if only to complete my collection of their work.
----------------
Danny Butterman: What made you want to become a policeman?
Nicholas Angel: Officer.
Danny Butterman: What made you want to become a policeman officer?
Nicholas Angel: I can't remember a time when I didn't want to be a police officer... except for the summer of 1979, when I wanted to be Kermit the Frog.
Dir. Edgar Wright
Scr. Edgar Wright & Simon Pegg
I was looking forward to this film like a kid looks forward to Christmas. Shaun of the Dead is genius cinema. Spaced is genius television. That’s a lot to live up to but I was confident Edgar and Simon could do it again. While Hot Fuzz certainly didn’t disappoint like socks at Christmas, neither was it a pony or a shiny new bike.
Simple premise: London cop extraordinaire, Nicholas Angel (Simon Pegg), is simply too good at his job so his jealous and petty colleagues transfer him to the sleepy village of Sandford, Somerset. Things are not as sleepy as they appear. Murder, gore, intrigue and hilarity ensue. It’s certainly not a startlingly original idea, but in the hands of Edgar and Simon, joined by almost every darling of British cinema from the last 30 years, it’s poetry in motion.
There’s a lot here to reward fans of Shaun, Spaced and almost every buddy-cop action movie ever made. The “cornetto” reference is from Shaun; the scene where Danny (Nick Frost) takes a bullet for Angel is from my favourite episode of Spaced; and … well, every scene with action, guns or gore can be seen as paying homage to the likes of Die Hard, Lethal Weapon, Bad Boys, Point Break and so on and so forth. There are so many in-jokes, in fact, that you’re not possibly going to catch them all the first time round. Which is clever – keeps you coming back for more.
There are plenty of laughs to be had. Belly laughs. Nick Frost is endearing and right on the money in this role, providing some of the best lines throughout the film. There are plenty of visual gags, some quite gruesome (the death of the reporter made me gasp loudly then nearly wet my pants with laughter, but that’s just me). If I had to pick one visual gag, it has to be the image of Angel flying through the air and delivering a kick to the face of an elderly woman. You just don’t see that every day. But it’s not all violence and gore. The script is clever, if somewhat predictable, and extremely quotable.
So, you might be asking, why isn’t Hot Fuzz a pony or shiny new bike? Well, it’s mainly a case of second-movie-syndrome. In my opinion, Shaun of the Dead was the best British comedy since Withnail and I. The expectation was that Hot Fuzz would blow us away. Well, while it was VERY funny and VERY clever, it wasn’t quite enough. It started slow. It was predictable. The style – the slick and fast camera work – has been done before … in Shaun. Having said that, I fully admit it might appeal to boys more than girls. My better half liked it more than Shaun of the Dead, perhaps because of the guns and bombs, who knows. But I’m more partial to a zombie theme, with some romance thrown in, than a piss-take buddy-cop movie.
By all means, see Hot Fuzz. You won’t be disappointed – it’s certainly worth $15 and a couple of hours of your precious time. Maybe though, like me, you won’t be utterly thrilled either. Edgar and Simon can be assured that I will be buying it on DVD however, if only to complete my collection of their work.
----------------
Danny Butterman: What made you want to become a policeman?
Nicholas Angel: Officer.
Danny Butterman: What made you want to become a policeman officer?
Nicholas Angel: I can't remember a time when I didn't want to be a police officer... except for the summer of 1979, when I wanted to be Kermit the Frog.
Monday, March 12, 2007
Confetti
Jimmy Carr, Felicity Montagu, Martin Freeman, Jessica Stevenson …
Dir. Debbie Isitt
Scr. Debbie Isitt
I just saw this film on DVD after having it recommended by a friend. I wasn’t going to blog a review because I thought it would be universally applauded but then I found out, according to www.rottentomatoes.com, this film was rubbish. Well, that’s just codswallop.
Confetti is a funny film. Yeah, it may be predictable and a tad cheesy. Sure, some of the jokes fall a little flat. But, hell, there are plenty of belly laughs to be had. And when you discover that the film was acted out as an improvisation and was shot entirely in chronological order it’s even more impressive.
It’s a premise I’m sure must have actually occurred at some point in real life – three couples compete to win a house by coming up with the wackiest wedding idea. We have a couple obsessed with tennis, a couple who love musicals, and a couple of naturists. It’s a recipe for hilarity.
Not as witty or clever as the efforts of Christopher Guest and his posse in Spinal Tap, Best in Show, A Mighty Wind etc, but this film is entertaining and more often funny than not. Some of the actors are obviously comfortable in this cinematic experiment than others, notably Jimmy Carr, Martin Freeman and Jessica Stevenson. In fact, Martin Freeman manages to steal every scene he is in with just a raise of an eyebrow. And Jessica Stevenson, well, she’s an absolute gem.
I laughed. I cried (yes, I did). I was entertained. What more could you ask for?
Dir. Debbie Isitt
Scr. Debbie Isitt
I just saw this film on DVD after having it recommended by a friend. I wasn’t going to blog a review because I thought it would be universally applauded but then I found out, according to www.rottentomatoes.com, this film was rubbish. Well, that’s just codswallop.
Confetti is a funny film. Yeah, it may be predictable and a tad cheesy. Sure, some of the jokes fall a little flat. But, hell, there are plenty of belly laughs to be had. And when you discover that the film was acted out as an improvisation and was shot entirely in chronological order it’s even more impressive.
It’s a premise I’m sure must have actually occurred at some point in real life – three couples compete to win a house by coming up with the wackiest wedding idea. We have a couple obsessed with tennis, a couple who love musicals, and a couple of naturists. It’s a recipe for hilarity.
Not as witty or clever as the efforts of Christopher Guest and his posse in Spinal Tap, Best in Show, A Mighty Wind etc, but this film is entertaining and more often funny than not. Some of the actors are obviously comfortable in this cinematic experiment than others, notably Jimmy Carr, Martin Freeman and Jessica Stevenson. In fact, Martin Freeman manages to steal every scene he is in with just a raise of an eyebrow. And Jessica Stevenson, well, she’s an absolute gem.
I laughed. I cried (yes, I did). I was entertained. What more could you ask for?
The Good Shepherd
The Good Shepherd
Matt Damon, Angelina Jolie, Michael Gambon, Robert De Niro, John Turturro, William Hurt and several hundred more
Dir. Robert De Niro
Scr. Eric Roth
This movie should have been better than it was. Look at the cast, at the director, at the subject matter. Don’t get me wrong, it was compelling (for the most part), well acted (with a couple of exceptions) and intriguing (nearly all the time). There were moments that floored me – the quote at the end of this review was delivered and phased so perfectly I nearly yelled “Alleluia!”, despite the fact I completely disagree with the sentiment.
Robert De Niro has given us a film about the birth of the CIA, following one man’s journey (Matt Damon) from ambitious young man to cold, hardened spy. The film is weighty, it has authority. It’s dark, it’s intelligent. It deals with serious moral dilemmas and introduces us to an array of fascinating characters. But it lacks heart and soul. We don’t really care about these fascinating characters. The moral dilemmas, serious as they might be, don’t reach down into your gut and swish about. And maybe that’s the point. Maybe the detachment and the coldness is what De Niro is trying to hammer home – the CIA is the eyes and the ears of America, after all. But, jeez, it makes a 167 minute movie damn hard to watch.
What kept me in my seat? Apart from the fact I had paid $14.50 for it? The acting. Stellar. Brilliant. Understated. Spot-on. Before Jason Bourne, I had very little time for Matt Damon, but he shows in this movie, as he has in the Bourne series and in The Departed, that he has some serious talent. Turns from William Hurt, Alec Baldwin, Robert De Niro and Joe Pesci (out of retirement as a favour to De Niro) are perfect. John Turturro proves once again that he is one of the best actors working today. Michael Gambon is the closest thing the movie has to a soul – a wonderfully sensitive and compelling performance. There are many more, including a great turn from British comedic actor John Sessions as a Russian spy who defects to the CIA.
There is, I’m sorry to say, a notable exception. It saddens me to have to criticise the only notable female part in this film, but Angelina Jolie’s performance as the long suffering wife is appalling. She proves once again that she couldn’t act her way out of a paper bag. Perhaps she should try and we might be lucky enough to have her suffocate in that bag. She managed to nearly ruin every scene she was in, but luckily that wasn’t too many. There are so many good actresses out there that could have played this role in their sleep.
The film has some excellent scenes that will stay with me for some time. The quote below is taken from one. The ending is another – the choice a father makes for his son. The scene in which a Russian spy is given LSD to make him talk, with dire consequences. There is certainly enough evidence that De Niro has learnt something from all those years in front of the camera.
But, in the end, The Good Shepherd does not get five stars or two thumbs up. But if you’ve got a spare 167 minutes and feel like sinking your teeth into something, give it a whirl. There’s enough there so you won’t regret it.
----------------------------------
Joseph Palmi: You know, we Italians have our families and the church, the Irish have the homeland, the Jews their tradition, the niggers their music. What do you guys have?
Edward Wilson: We have the United States of America. The rest of you are just visiting.
Matt Damon, Angelina Jolie, Michael Gambon, Robert De Niro, John Turturro, William Hurt and several hundred more
Dir. Robert De Niro
Scr. Eric Roth
This movie should have been better than it was. Look at the cast, at the director, at the subject matter. Don’t get me wrong, it was compelling (for the most part), well acted (with a couple of exceptions) and intriguing (nearly all the time). There were moments that floored me – the quote at the end of this review was delivered and phased so perfectly I nearly yelled “Alleluia!”, despite the fact I completely disagree with the sentiment.
Robert De Niro has given us a film about the birth of the CIA, following one man’s journey (Matt Damon) from ambitious young man to cold, hardened spy. The film is weighty, it has authority. It’s dark, it’s intelligent. It deals with serious moral dilemmas and introduces us to an array of fascinating characters. But it lacks heart and soul. We don’t really care about these fascinating characters. The moral dilemmas, serious as they might be, don’t reach down into your gut and swish about. And maybe that’s the point. Maybe the detachment and the coldness is what De Niro is trying to hammer home – the CIA is the eyes and the ears of America, after all. But, jeez, it makes a 167 minute movie damn hard to watch.
What kept me in my seat? Apart from the fact I had paid $14.50 for it? The acting. Stellar. Brilliant. Understated. Spot-on. Before Jason Bourne, I had very little time for Matt Damon, but he shows in this movie, as he has in the Bourne series and in The Departed, that he has some serious talent. Turns from William Hurt, Alec Baldwin, Robert De Niro and Joe Pesci (out of retirement as a favour to De Niro) are perfect. John Turturro proves once again that he is one of the best actors working today. Michael Gambon is the closest thing the movie has to a soul – a wonderfully sensitive and compelling performance. There are many more, including a great turn from British comedic actor John Sessions as a Russian spy who defects to the CIA.
There is, I’m sorry to say, a notable exception. It saddens me to have to criticise the only notable female part in this film, but Angelina Jolie’s performance as the long suffering wife is appalling. She proves once again that she couldn’t act her way out of a paper bag. Perhaps she should try and we might be lucky enough to have her suffocate in that bag. She managed to nearly ruin every scene she was in, but luckily that wasn’t too many. There are so many good actresses out there that could have played this role in their sleep.
The film has some excellent scenes that will stay with me for some time. The quote below is taken from one. The ending is another – the choice a father makes for his son. The scene in which a Russian spy is given LSD to make him talk, with dire consequences. There is certainly enough evidence that De Niro has learnt something from all those years in front of the camera.
But, in the end, The Good Shepherd does not get five stars or two thumbs up. But if you’ve got a spare 167 minutes and feel like sinking your teeth into something, give it a whirl. There’s enough there so you won’t regret it.
----------------------------------
Joseph Palmi: You know, we Italians have our families and the church, the Irish have the homeland, the Jews their tradition, the niggers their music. What do you guys have?
Edward Wilson: We have the United States of America. The rest of you are just visiting.
Music and Lyrics
Music and Lyrics
Hugh Grant, Drew Barrymore, Kristen Johnston, Brad Garrett, Haley Bennett
Dir. Marc Lawrence
Scr. Marc Lawrence
It’s a rare thing – a nicely crafted, genuinely romantic, funny rom-com. “No, that’s rubbish”, you might say. “They’re a dime a dozen!” you’ll cry. But, actually, you’re wrong. There hasn’t been a really good rom-com for quite some time. Since When Harry Met Sally … I would argue. Music and Lyrics, despite its soppiness and cheesy music, or perhaps because of that, is damn good.
I have to admit before going on that I am a hopeless romantic. The thought of Hugh Grant and Drew Barrymore playing lovey-dovey towards each other got my heart racing and I knew I was going to like this film. But I didn’t know I was going to love it and I have so often been disappointed by rom-coms that aren’t funny and/or aren’t romantic. Many rom-coms try too hard to be something more when they would be better off sticking to the tried and tested formula of their genre.
Here it is in a nutshell: Boy meets girl. Boy and girl don’t really hit it off. Boy thinks girl is weird. Girl thinks boy is a has-been who wears pants that are too tight. Boy and girl get to know and like each other. Boy and girl go through a trying time and boy says something incredibly mean and stupid. Boy has to make grand gesture to get girl back. It works. The end.
Music and Lyrics has the formula down to a fine art. There isn’t a wasted scene or an awkward moment when the audience thinks “what the hell is going on?!” The whole sub-plot of why Drew Barrymore’s character is so strange had potential to ruin the movie and I was worried. But, instead, it is dealt with deftly and gives the movie one of its funniest scenes.
The supporting cast are superb. Brad Garrett, as the loyal manager with a big heart, is lovely. Kristen Johnston, as the older sister, is hilarious and quite a tad frightening, stealing every scene she is in. Haley Bennett gives an outstanding performance as Cora Corman, a clever parody of Brittney Spears, but with more smarts and heart than I suspect Brittney has. Also nice casting of Campbell Scott as the object of Drew’s character’s obsession – he really is an underutilised and underrated actor.
Drew herself, as Sophie Fisher, is so sweet and so kooky and so cute it almost bordered on nauseating. Almost. But she pulled it off and was funny to boot. But this film really does belong to Hugh. He plays the role of an aging 80s pop icon, Alex Fletcher (think George Michael in Wham), with relish. His comic timing is brilliant. And it doesn’t hurt that he’s dreamy and he’s a Pom. If this film starred, say, Matthew McConaughey I don’t think it would have worked even half as well. There’s something about a Brit – the self-derision, the melancholy, the dry wit – that held the film together and stopped it becoming too saccharin.
The other star of Music and Lyrics is, errr, the music and lyrics. Adam Schlesinger deftly pens tunes that stay with you long after the movie has ended. “Pop Goes My Heart”, both the song and the hilarious music video, is straight out of the 80s. “Way Back Into Love” and “Don’t Write Me Off” are unexpectedly good. I feel on less sure ground commenting on the songs written for the character of Cora Corman, but only because I’m more of a Wham fan than a Brittney fan. But I am assured they are very authentic.
I really do want to be more scathing about this film. But I just can’t. If rom-coms are not your thing, by all means stay away. And it’s not the best rom-com ever made (When Harry Met Sally … and It Happened One Night have to fight it out for that honour). But when the credits rolled, I wanted it to start all over again. That’s surely a sign of a successful film.
---------------------------------
Alex Fletcher: Theoretically, I could pick you up because I will be taking a cab. Sophie Fisher: I could be standing outside at 9:40 in bright orange clothes, so you wouldn't miss me... Alex Fletcher: Oh good, you'll get some road work done while you wait then.
Hugh Grant, Drew Barrymore, Kristen Johnston, Brad Garrett, Haley Bennett
Dir. Marc Lawrence
Scr. Marc Lawrence
It’s a rare thing – a nicely crafted, genuinely romantic, funny rom-com. “No, that’s rubbish”, you might say. “They’re a dime a dozen!” you’ll cry. But, actually, you’re wrong. There hasn’t been a really good rom-com for quite some time. Since When Harry Met Sally … I would argue. Music and Lyrics, despite its soppiness and cheesy music, or perhaps because of that, is damn good.
I have to admit before going on that I am a hopeless romantic. The thought of Hugh Grant and Drew Barrymore playing lovey-dovey towards each other got my heart racing and I knew I was going to like this film. But I didn’t know I was going to love it and I have so often been disappointed by rom-coms that aren’t funny and/or aren’t romantic. Many rom-coms try too hard to be something more when they would be better off sticking to the tried and tested formula of their genre.
Here it is in a nutshell: Boy meets girl. Boy and girl don’t really hit it off. Boy thinks girl is weird. Girl thinks boy is a has-been who wears pants that are too tight. Boy and girl get to know and like each other. Boy and girl go through a trying time and boy says something incredibly mean and stupid. Boy has to make grand gesture to get girl back. It works. The end.
Music and Lyrics has the formula down to a fine art. There isn’t a wasted scene or an awkward moment when the audience thinks “what the hell is going on?!” The whole sub-plot of why Drew Barrymore’s character is so strange had potential to ruin the movie and I was worried. But, instead, it is dealt with deftly and gives the movie one of its funniest scenes.
The supporting cast are superb. Brad Garrett, as the loyal manager with a big heart, is lovely. Kristen Johnston, as the older sister, is hilarious and quite a tad frightening, stealing every scene she is in. Haley Bennett gives an outstanding performance as Cora Corman, a clever parody of Brittney Spears, but with more smarts and heart than I suspect Brittney has. Also nice casting of Campbell Scott as the object of Drew’s character’s obsession – he really is an underutilised and underrated actor.
Drew herself, as Sophie Fisher, is so sweet and so kooky and so cute it almost bordered on nauseating. Almost. But she pulled it off and was funny to boot. But this film really does belong to Hugh. He plays the role of an aging 80s pop icon, Alex Fletcher (think George Michael in Wham), with relish. His comic timing is brilliant. And it doesn’t hurt that he’s dreamy and he’s a Pom. If this film starred, say, Matthew McConaughey I don’t think it would have worked even half as well. There’s something about a Brit – the self-derision, the melancholy, the dry wit – that held the film together and stopped it becoming too saccharin.
The other star of Music and Lyrics is, errr, the music and lyrics. Adam Schlesinger deftly pens tunes that stay with you long after the movie has ended. “Pop Goes My Heart”, both the song and the hilarious music video, is straight out of the 80s. “Way Back Into Love” and “Don’t Write Me Off” are unexpectedly good. I feel on less sure ground commenting on the songs written for the character of Cora Corman, but only because I’m more of a Wham fan than a Brittney fan. But I am assured they are very authentic.
I really do want to be more scathing about this film. But I just can’t. If rom-coms are not your thing, by all means stay away. And it’s not the best rom-com ever made (When Harry Met Sally … and It Happened One Night have to fight it out for that honour). But when the credits rolled, I wanted it to start all over again. That’s surely a sign of a successful film.
---------------------------------
Alex Fletcher: Theoretically, I could pick you up because I will be taking a cab. Sophie Fisher: I could be standing outside at 9:40 in bright orange clothes, so you wouldn't miss me... Alex Fletcher: Oh good, you'll get some road work done while you wait then.
Subscribe to:
Posts (Atom)