Quote of the Week Review: Capote (2005)

By Thomas Broome-Jones

"I have 94 per cent recall of all conversation. I tested it myself." 

A master at work: Hoffman steals the show convincingly.

The untimely passing of Philip Seymour Hoffman was one that shocked the world over, the hearts of so many were beautifully opened in tribute to someone who may just be the finest screen actor of his generation. I was devastated to discover that one of my favourite actors was no longer with us, especially as I thought his best was still yet to come. Hoffman was transitioning into directing and his acclaim throughout all fields had him shaping up to become somewhat of a modern-day Orson Welles. But the body of work he has left us with is rich in towering performances, among some of my favourites are his collaborations with Paul Thomas Anderson, a true genius and maestro of modern cinema, I have a particular adoration of Boogie Nights and Punch-Drunk Love.

Capote is statistically Hoffman's finest hour, it's the role that won him his sole Academy Award and it was thoroughly deserved. Simply put, Hoffman carries the entire film on his shoulders with one of the greatest biographical performances I've ever seen. After watching the film I took it upon myself to watch clips of the real Truman Capote, Hoffman's portrayal is more than just uncanny, he IS Truman Capote. The voice, the mannerisms, the facial expressions, I don't know how Hoffman did it but as an actor myself I can't help but adore the fact that he did.

The film's story concerns the process of Truman Capote penning what stands as his most acclaimed work, 'In Cold Blood', a unique non-fiction book that is widely regarded as having started the true crime genre of literature, or at the very least popularizing it. The idea of this genre is a book that uses fiction techniques to craft a narrative around actual criminal acts that have happened, using real names and interviews but arranging the facts in such a way that they tell a story. You may be familiar with the use of such methods in Asif Kapadia's acclaimed 2009 documentary Senna, which portrayed the life and death of Formula One legend Ayrton Senna using entirely archive footage, but still crafting a narrative.

When I say Hoffman carries this film though, I really mean it. Unfortunately I didn't feel like it was anything special outside of his performance, the supporting cast were fine but I'm somewhat confused as to why Catherine Keener received an Oscar nomination for her portrayal of 'To Kill a Mockingbird' author Harper Lee. The real thing that holds the film back though is the painfully uneven pacing, on the one hand, the scenes don't develop enough, we are rapidly whisked from location to location without being given any time to immerse ourselves in the narrative. But the isolated scenes aren't the only problem, the film as a whole feels far too long and whilst it does have an ending that packs an emotional punch, we're too exhausted from unnecessary over plotting to care all that much. "Speed up, slow down" pacing is almost always a deathtrap for a film.

There isn't really much else to say about the film, it doesn't deal with anything too complex, it's less about narrative and themes as it is about Truman Capote and his methodology. I recommend this to anyone who's a fan of Hoffman's work though, it demonstrates his versatility just as well as any other film. Not the best in his library, but certainly one of his strongest performances and one that will only make you appreciate the man's talent even more, Capote is definitely something you should devote your time to, who knows? You may even fall in love with it. 

 Thomas Broome-Jones is on Twitter, you can follow him @TBroomey. 

Quote of the Week Review: Moonrise Kingdom (2012)

By Thomas Broome-Jones

"These are my books. I like stories with magic powers in them. Either in kingdoms on Earth or on foreign planets. Usually I prefer a girl hero, but not always."

There's no wedding like a Wes Anderson wedding.

Masterful, loving, warm and heartfelt. Some choice words for Wes Anderson's incredible achievement known as Moonrise Kingdom. If you were to compile a list of true all-time great films from the 2000s it would be a short one, but this belongs on every single list on such a subject.

Anderson is renowned for his quirky and offbeat approach to filmmaking, his distinct style has earned his well-deserved acclaim from the public as well as critics. So, teaming up with Roman Coppola, the son of the legendary Francis Ford Coppola, Anderson has crafted something special and almost transcendent of every other film released within the last 10 years or so.

From the scorching opening sequence enriching the frame with vivid colours and whip pan camera movement to keep the pace up, a unique story is set in place. This is a story about love, but the film is so much more than that. Don't go into this thinking you'll be given a simple romance, the word "simple" is most definitely not an adjective applicable to the work of Wes Anderson. Childlike innocence, the absence of authority and guidance, the importance of human connection, this film is about humanity.

The plot concerns a runaway scout who desires to be with a girl he has fallen in love with, his scout leader, who is portrayed magnificently by Edward Norton, goes on a mission to track him down. The location of an isolated island seemingly inhabited by talented actors builds an almost dream-like world for the audience to lose itself in. This is a real strength that Anderson possesses, his films almost feel unreal and yet the problems within them are so easy to relate to, it's like the impossible meeting the possible, negativity in what should be a perfect world.

The comedy is spot on, which is to be expected with the talent involved both behind the camera and in front of it. I'm talking of course about Bill Murray, a man who is widely regarded as the finest comic actor of his generation, and rightly so. Murray is piercingly funny and despicable at the same time here, something at which he is somewhat of a veteran at. Whether he's throwing his shoe at Edward Norton or getting drunk and chopping down trees whilst his apathetic children dutifully ignore him, he's stealing the scene whenever he's in frame. A real return to form from the man who was in not one but two 'Garfield' films, oh, the pain.

The focus on children feuding with one another is reminiscent of Lord of the Flies, but at the same time feels like an original plot element. The children are remarkably able to hold their own with a cast that consists of two Oscar winners and two Oscar nominees as they shatter the preconception that child actors aren't up to par with adult performers. Their characters are believable as well as empathetic, their darker sides are balanced with morals and other human qualities.

Not many films I have seen feel as genuine as 'Moonrise Kingdom', which is somewhat ironic as it toys with reality at numerous intervals. It's something beautiful that I have fallen in love with, Wes Anderson has stolen my heart as a film lover and has sold me on his upcoming feature The Grand Budapest Hotel, which sports a few cast members from this particular picture. The genius in the craft work of Moonrise Kingdom caresses the soul and hits you with Cupid's bow, a romantic film in both the philosophical and figurative sense that can be enjoyed on more than one level, you have to see this.

Thomas Broome-Jones is on Twitter, you can follow him @TBroomey. 

Quote of the Week Review: Shrek (2001)

By Ben Hanna

"I like that boulder. That is a nice boulder."

Shrek, a wonderful fairy tale about an ogre that spends his days fending off the village people and living out the normal life of an ogre. This hilarious animated tale is about an ogre, Shrek (Mike Myers) who goes out on a quest to get his swamp to the way it was before it was overrun by fairytale creatures sent by the evil Lord Farquaad (John Lithgow). On his travels, he encounters a donkey played by Eddie Murphy who accompanies him on his journey which takes an unexpected turn.

No, this isn't a photo from Lindsay Lohan's wedding, we've checked.

Shrek is one of those films that I can personally remember from my childhood as being, well, just brilliant. One of those family films that you will always be able to go back and watch, one that never gets old. An aspect of the film that I always have found to be great is the humour that’s used. Shrek can appeal to a younger audience with the silly characters with a fairy tale picture but it’s also enjoyable for older audiences. Subtle jokes and one-liners that are very amusing indeed. That’s what makes Shrek so versatile and enjoyable and definitely on of the reasons why it’s so well regarded. I personally don’t know anyone that doesn't enjoy a bit of Shrek.

The casting for the film is perfect, Mike Myers portrays Shrek as a loveable character that’s witty and funny. What’s interesting is the idea that Shrek, as an ogre is the main protagonist rather than a knight in shining armour. It really puts a spin on the traditional fairy tales but works so well. Eddie Murphy again is an excellent choice to play the excitable Donkey. Shrek’s faithful companion accompanies him through his adventures and definitely portrays that idea of true friendship.

Although Shrek has branched out into three more films, I still believe that this Shrek, the first one, is definitely the best. The story is richer and is more like a fairy tale which makes the film so interesting. The other three films all have elements of a fairy tale but it just doesn't feel the same. Never the less they are all great films and Shrek is definitely here to stay.

Quote of the Week Review: A Scanner Darkly (2006)

By Sean McDonnell

"What does a scanner see? Into the head? Into the heart? Does it see into me? Clearly? Or darkly?"

Richard Linklater, director of the classic School of Rock, takes us on a very unusual journey of identity, paranoia and surveillance amidst the backdrop of a dystopian L.A. where the war on drugs has failed. A Scanner Darkly follows Bob Arctor (Keanu Reeves), an undercover detective who tries to find out more about the rise of ‘Substance D’ via his drug addicted friends James (Robert Downey, Jr.), Ernie (Woody Harrelson) and Donna (Winona Ryder). Bob never really gets up to much, considering all his friends really do (especially James) is have long paranoiac conversations, so, when at the police station he wears a ‘scramble suit’ which constantly changes his appearance and is code named ‘Fred’. However, Bob becomes heavily addicted to Substance D which makes him unaware of who he really is as he is told to investigate into himself more…

Looks like Neo should've taken the blue pill instead.

The film is visually outstanding. Linklater has previously used the Rotoscope technique in his heavily philosophical art-house film Waking Life. In A Scanner Darkly, he takes it to a whole new level in a very artistic world. For those who don’t know, the Rotoscope technique is when live action footage is traced over and animated, giving a very unusual and interesting effect. Shane F. Kelly as the cinematographer does a very good job presenting the constant fear that addicts of Substance D go through such as a close up of Bob hallucinating that James and Ernie are giant bugs. All the cast offer very good performances, Keanu for once puts a fair amount of effort in his acting in contrast to some of his poorer performances (hint hint, Francis Ford Coppola's Dracula). I personally think this is one of Robert Downey, Jr.’s best roles because he perfectly suited the eccentric style of James and reminded me in a way of his portrayal of Sherlock Holmes due to the selfishness and drug addictions in both characters.

However as much as I liked the film as a very good adaptation of Philip Kindred’s novel, I felt disappointed in that the plot was very confusing at times and in a way I felt a lot more could have developed. A Scanner Darkly as a film portrays beautifully the experiences of addicts very much like what Philip intends in the novel since it’s based on his experiences as an addict of amphetamines and dedicates it to “some people who were punished entirely too much for what they did”, in this case, his friends who suffered from various physical and psychological effects. Philip even goes as far to include himself in the list, “Phil” – a victim of permanent pancreatic damage.

On the whole, a good adaptation of a classic sci-fi story. However, prepare to be lost in a very radical and colourful world of deception as the story moves quite quickly and in a very puzzling way, so be sure to pay attention to Bob and the gang talking a lot of meaningful nonsense! An interesting film with a strong message, A Scanner Darkly is one of more stimulating Philip Kindred adaptations I've seen in a while but it's ever so slightly disappointing due to a confusing plot. All in all, I still recommend watching this film because of the good performances and of course the fantastic visuals. It doesn't beat School of Rock but it’s still a trippy adventure into the future that’s worth tuning into!

Sean McDonnell is on Twitter, you can follow him @seanmcdonnell_. 

Sean also has his own blog, which you can find here.

Quote of the Week Review: Barton Fink (1991)

By Thomas Broome-Jones

"You think I made your life hell? Take a look around this dump. You're just a tourist with a typewriter, Barton, I live here"

For my money, this is the finest film that the Coen Brothers have ever produced. Their catalogue is a rich library of lovingly-crafted masterpieces, each one different from the last. Most people are familiar with films such as The Big Lebowski, Fargo or No Country for Old Men, but Barton Fink is especially intriguing as it's one big puzzle box.

Barton Fink isn't quite "surrealist", per se, but it is impossible to place in any genre, there are elements of comedy, drama, farce, satire, thriller and romance. The Coens have agreed with critics that classifying it is hard, it simply is what it is.

The plot concerns the eponymous Barton Fink, an acclaimed New York playwright who has been hired to pen a wrestling screenplay. Upon arriving at his ominous L.A. hotel, Barton suffers from writer's block and encounters his burly neighbour, Charles, played by the infallibly lovable John Goodman, a frequent collaborator of the Coens.

Nobody f**ks with The Jesus.

The chain of circumstance that follows takes you on a wicked mind-bending trip through the corruption and greed that encumbers The City of Angels, as Barton begins to learn that he's surrounded by liars, cheats and phonies. John Turturro is simply astounding as Barton, a truly underrated actor who was snubbed by the Academy not only for his performance in this, but Do the Right Thing and The Big Lebowski also. His performance is subtly comprised of various ticks and delusions of grandeur that create a man who thinks highly of himself but wants to help others, leading to an internal conflict that he must confront and overcome.
The enigmatic visual motifs throughout the film add varying layers to the plot and themes, creating a complex and thought-provoking piece of cinema that challenges as well as entertains. The ultimate theme of the film is illustrated best in the heated finale, the yin and yang of creation and destruction meeting in a mutual respect for one another. I won't say anymore as I don't want to spoil the ending.

The minimalist approach as well as deliberate lack of real character development is signature Coens. The plot's interest comes from how the characters interact with their situation, for some filmmakers this would be a huge risk as it requires pitch-perfect casting, but the Coen Brothers always make sure every actor is perfectly suited for their role.

Roger Deakins, one of the greatest cinematographers of all-time and the Coens' regular DOP, uses the camera to make everywhere Barton is feel like a maze. The hotel is especially reminiscent of Stanley Kubrick's horror monolith The Shining, something that Joel and Ethan Coen have openly recognized as an influence. The way the camera wraps around every wall, as if it knows to be cautious when the characters do not, creates an uneasy feeling among the audience as the characters remain calm in clearly dangerous situations.

A fascinating portrait of humanity and a scathing critique of Hollywood's desolate landscape of broken dreams, as well as the extremes between wealth and poverty. This is a crowning achievement in the library of the Coen Brothers, backed up with a blissful supporting cast, consisting of talents such as Micheal Lerner, John Mahoney and Steve Buscemi, this is one that all of their fans must see. 

Thomas Broome-Jones is on Twitter, you can follow him @TBroomey. 

Quote of the Week Review: Ted (2012)

By Ben Hanna

"F*** you, thunder! / You can suck my d***! / You can't get me thunder / 'Cause you're just God's farts!" 

Seth MacFarlane is best known for directing, creating and writing the popular animated television series, Family Guy.

Ted is MacFarlane’s first feature length film and so was highly anticipated by fans of his acclaimed television series. The film begins in Boston where we are told the story of a young boy without friends who for Christmas day, opens up a present containing Ted, his new life-long best friend. After making a wish that Ted would come to life and be his best friend for ever, which is exactly what happens.

I've met stranger shop assistants if I'm honest.

We’re moved 27 years into the future, John (Mark Wahlberg) is 35 with a girlfriend called Lori  (Mila Kunis) a dead-end job as a car salesman and his best friend Ted (Seth MacFarlane). The actors picked for these roles were selected well, Mark Wahlberg and Mila Kunis did a great job at making their characters believable and relatable. However, when it comes to the bear I felt kind of lost. Ted never had a clear idea of what he was doing and just seemed to follow John around like a lost puppy.

The story is set in motion but unfortunately lacks a really strong narrative and eventually becomes a bit silly, John finds it very difficult to stop playing with his teddy bear and grow up but this could however add to the comedic value of the film. I found myself in hysterics from beginning to end because Seth really understands how to make a joke, given his previous work with Family Guy and American Dad. A lot of the one liners used in the film really make the entire thing funny. So if you are a fan of Seth and his work, this is a definite must-see.

Overall, Ted contains some hilarious scenes that will have you in stitches and is definitely worth the watch if you’re staying home for a night in. Just make sure your sense of humour stayed home with you, this one isn't for the faint of heart.


 

The 12 Films of Christmas: Jingle All the Way (1996)

By Thomas Broome-Jones

Yes, I'm actually recommending this. Jingle All the Way stars dear old Arnie as a father who must scour Minnesota to find a sold-out "Turbo Man" toy for his son, who is played by Jake Lloyd, otherwise known as Anakin Skywalker in Star Wars Episode I: The Phantom Menace, what a great start we're off to.

"Hands up if you just do it for the money nowadays."

I'd place this film in the "so bad it's good" category. It's a really poor film, hammy acting, stiff dialog, cliches, unfunny jokes, it doesn't really have much going for it. However the pure level of how stupid this film is makes it enjoyable, much like a personal favourite of mine, The Room, you'll laugh at how truly awful it is.

I don't want to spoil it for you because you just need to see the progression of how bad it really does get, but the highlight for me is Arnie knocking out a reindeer. You read that correctly, Arnie punches a reindeer in the face, if that doesn't sell the film to you then I don't know what will.

A poor film that has acquired a cult following from its unintentional hilarity, this will remind you how lucky we really are to have brilliant Christmas films to fall back on, and will undoubtedly find a place in your heart, maybe just not the right place. 

Thomas Broome-Jones is on Twitter, you can follow him @TBroomey.