Director Jia Zhang-ke’s eighth feature film, selected in competition for the Palme d’Or at the 2015 Cannes Film Festival, begins with a brilliant blast from the Pet Shop Boys 90’s anthem ‘Go West’. A group of friends, led by Shen Tao (Zhao Tao) dance and celebrate the new year and beginning of 2000. What appears to be a story of friendship in three chapters, spanning 25 years and based in a coal-mining town in provincial northern China – is not all it seems.
Glowing and constantly joyful Tao, surprisingly attracted by the wealth, security and possibilities offered by Zhang Jinsheng (Zhang Yi), an aggressive and conceited young entrepreneur, is forced to discard her good and loyal boyfriend Jianjun (Liang Jingdong), a kind and unpretentious miner, with few prospects. A series of unsubtle metaphors later – a crashed and burning plane, loss of mother-tongue language, exploding dynamite – and Tao rapidly loses that endearing shininess.
The relationship between Tao and her son provides the richness and heart of this film, as well as some of the best dialogue. The reconnection and brevity mark these scenes of attachment and loss as Tao grows closer to her estranged 7-year-old son before farewelling him. The gift of a set of house keys as he leaves her, hang around his neck, providing him with a way back to the memory of a mother whose name he can’t, or pretends not to remember; a beautiful and incredibly sad moment.
“The hardest thing about love is caring”, stated by one character, aptly sums up this thought-provoking story. One of disconnection and disappointment, symbolising the loss of family connection and the rise of capitalism in China, and featuring the magnificent Zhao Tao.
Sicario, Denis Villeneuve’s fantastic film deals with drug smuggling cartel rings operating in the US.
It is a formidable piece of work, which kept me on the edge of my seat. The drug smuggling cartel story has become somewhat of a cliché but Villeneuve’s direction and fantastic central performances by Blunt, Brolin and del Toro elevate the go to story of an FBI agent (Blunt) dragged into Brolin’s murky and morally questionable government task force run into something very special indeed.
Villeneuve uses his greatest assets to his advantage: Sheridan’s well-written script allows the characters outer skins to peel away as the drama of the plot unfolds, thickens and darkens. This lets the actors to perform without hamming it up or overplaying the drama of the scene. The camera frequently rests on his actors and Villeneuve avoids cutting the performances up. He stands back and lets Blunt guide us through the world in a confident manner, without her performance the film would fall apart. Brolin is at home as the cocksure team leader, who is introduced to the audience obnoxiously wearing flip-flops in a meeting. Del Toro’s quiet performance remains very ambiguous throughout the film; it is only at the end that we are able to get a full grasp of his character.
An early set piece, a drive in to Juarez, Mexico, is elaborately staged; absolutely every possible ounce of tension is wrung from glances between characters and helicopter shots of the convoy, so much so that it becomes unbearable when the action grinds to a halt in a traffic jam. Jóhann Jóhannsson’s ominous and looming score augments the tension in the film, which is reminiscent of the score in Gaspar Noé’s Irreversible, it’s bubbling and rumbling synths mesh with brass instruments and echoing percussion in a way that sends shivers down spines and puts butterflies in stomachs. Roger Deakins’ sublime photography captures all of the grit and dirt in the sand. In one scene, he breathtakingly manages to evoke the natural drama of a sunset and keep the action silhouetted in the foreground.
Sicario is a film that will have a very long shelf life.
Like in his other films, Villeneuve’s superlative command of the frame and characters hooked me very early on and stayed with me long after the credits had rolled. It cannot recommend it more highly. I am eagerly awaiting his Blade Runnersequel; I cannot wait to see how his unique eye will capture a steam punk sci-fi setting.
Directed by Denis Villeneuve, written by Taylor Sheridan, 121mins
On a cold Irish farm, Aaron (Barry Keoghan) wants Mary (Emer McCourt) his mother, to fight for her life, or at least to take her medicine.
Surrounded by his indifferent and critical visiting uncles and aunt, Aaron suddenly has his privacy and intimacy with his sick mother invaded. The only one providing him with comfort and attention is his mum.
Aaron listens to the foul-mouthed, banal talk lulling his mother, who appears well, to her death.
“Grow up”, they yell at him, “you wee shit!”, as the adults comfort each other and treat him with disdain.
Writer & director Phil Sheerin, has created a powerful, sad, important film. When most of the discussion about assisted-suicide centres around older people, this is a rare child’s perspective, one who is not ready nor prepared to say goodbye, yet appears to be the most emotionally competent person in the room.
Why on earth would I sit through 3 minutes of utterly spoiler filled sequences when I can actually watch the film itself?
A particularly noteworthy offender is Carrie (1976) – a quality trailer which infamously shows you how all of the main characters die at the end of the film. Some other honourable mentions include: The Curious Case of Benjamin Button and Goldeneye, and then there are practically 1001 comedy film trailers that show you all of good jokes in the trailer (probably because there aren’t any other good ones).
I thought therefore that I would pay homage to the film trailers that downright lie to you about the content of the film. Okay, okay, this isn’t necessarily any better, but at least you’re surprised!
I struggle to work out why this happens, I know the trailers are almost always put together by a completely different team to the one that actually produced the film but surely someone should say no when they get given a drama about the struggles of being a German ballet dancer in post war berlin but they realise that subtitles and struggle don’t really perform well in the 18-25 bracket so they sell it as a zany romcom.
What the trailer promises: a light hearted and slightly abstract rom-com (the most loved of all genres) about a mismatched couple.
What the film is actually like: an intense emotional roller-coaster about relationships, and having the opportunity to be able to forget – with some stunning visual effects as well.
What the trailer promises: A generic stalker horror film – a young couple who have just moved into a large (mostly glass) house are terrorised by a creepy man from Jason Bateman’s past. My boyfriend was so put off by the promotion of this film that it took hours of pleading to get him to come to the cinema with me and watch it.
What the film is actually like: Terrifying psychological trailer with an ending that makes you want to go and take a shower.
The Fountain
What the trailerpromises: A drama about man who is desperate to find/invent a cure for his dying wife.
What the film is actually like: A very visual film, that mediates on life and death. It is much less action packed than you would think from watching the trailer. It goes all weird and spacey towards the end – but in a good way. Apparently the original script had far more of the bald tattooed man in the flying space tree, but that had to be cut out due to budgets, and studios wanting to actually sell the film.
What the trailer promises: Looks like a romantic comedy where two people strike up an unlikely friendship and then party together in Japan.
What the film is actually like: As well as being a bit of a weird romantic comedy, it is actually quite serious at points – it handles a variety of serious subjects including isolation, insomnia and culture.
What the trailer promises: A beautifully made Gothic horror film about a barber who is seeking vengeance.
What the film is actually like: They sing…for the entire film. There is virtually no spoken dialogue in this film. “To be honest though musicals are the lowest form of entertainment, so this one is understandable” – my boyfriend.
What the trailerpromises: An interesting sci-fi thriller about a mystery plague.
What the film is actually like: A killer wind starts killing people, with little explanation as to why. This is the point when M Night Shyamalan really went off the rails – this makes the aliens that are deathly allergic to water seem like a masterpiece
What the trailer promises: Imaginary creatures, mythical destinies – seems like an adventure fairy-tale.
What the film is actually like: They all speak SPANISH…for the entire film. Also the trailer manages to miss out the whole Spanish civil war, full of real death and face slicing, and torture, etc.
What the trailer promises: A comedy about Charlize Theron’s character returning to her hometown and
What the film is actually like: Directed by Jason Reitman, I should have realised that is was more likely to be a black comedy – but it is also a fantastic performance by Charlize Theron, who is a depressed alcoholic.
What the trailer promises: A mysterious medley of shots with a classical soundtrack. Looks like there is a romance between Colin Firth and Julian Moore.
What the film is actually like: A tragic drama about a depressed English professor struggling to come to terms with the death of his boyfriend.
What the trailerpromises: A fantasy adventure where two children discover ‘something incredible’ in the woodland near their home – think monsters, giants and fairies.
What the film is actually like: This film shouldn’t be watched by children, or anyone else in the ownership of tear ducts. It will make you cry, there is a distinct lack of fairytale nonsense, and an over abundance of stuff that will make you cry. Also there is whole bunch singing teacher stuff that really should have been cut out, but never mind.
Cynical Kevin on a blind date set up by a friend, shares his past dating woes. Apparently none of the women are up to his standard. Exotic night out? He fears he’s become the exotic attraction.
Then Claire turns up. Initially put off by her stereotypical response to his perfect skin, he is stunned as her friends unexpectedly turn up to the bar, revealing more and more of her intriguing life involving amongst other things, pink mist and Ukrainian military. Kevin looks both fascinated and horrified. Is this a setup? A joke? Finally they ask, “And what do you do?”. Ah…the revealing moment.
Writer, producer and in the role of Kevin, Christopher T. Wood appears in his second film after ‘Time to Kill’ (2014). Sam Auster directs this short, sharp and funny tale.
