Tagged: film

Rosita – review #sydfilmfest

This is a gentle film about Ulrik, a father, played by the wonderful Jens Albinus, longing for love after the death of his wife. Like many in his small village in Denmark’s Jutland he goes for an arranged marriage with Rosita, a much younger woman from the Phillipines, played well by Mercedes Cabral. Ulrik has two sons and the younger, Johannes (Mikkel Boe Følsgaard) still lives with him at home. Johannes is a bit of a local lad, a fisherman and has a girlfriend who clearly loves him a great deal.

Rosita is ultimately a film about whether we accept the cards we are dealt in life or make some difficult choices and it is also a film about hope and love. Johannes certainly isn’t happy with his lot and when Rosita comes along he soon thinks he has found the love of his life and wants to escape with her. Ulrik, however, is having none of this and the older lion still has the smarts to run his pack.

Johannes has to decide what he really wants and whether this choice will include the burning of some bridges to his family. A few words from his father right at the end of the film soon sort that out and I am reminded of the words of Mick Jagger and Keith Richards:

Oh, you can’t always get what you want
But if you try sometimes you just might find
You get what you need

My Bruce McAvaney Specialness Rating*: 3+/5 (Somewhat special.)

 

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Goat – review #sydfilmfest

I wasn’t expecting a great deal from this film, but it is actually quite powerfully disturbing. Goat is about the hazing rituals in US colleges that happen in frat houses. On the surface it presents the sheer physical danger of these stupid rituals, but at a deeper level when you understand how much of a long standing tradition and how widespread these things are, Goat makes you wonder about the decision making of all these people later in life when they are running so much of the US government, its military, the media, business and industry and even the legal system. Given the influence of the US and what it does on the rest of the world, it is a real worry.

I saw a review that dismissed or discounted this message as the reviewer thought everyone already knew all of this, but I don’t think those of us in the rest of the world do and nor do we think it to be a harmless rite of passage towards “manhood”.

I think it certainly helps to have big names like Nick Jonas and James Franco in the film to help with this exposé.  I haven’t seen Ben Schnetzer, the lead actor, before but he does a great job in looking both vulnerable, and still determined to be part of this brotherhood that he clearly sees as meaningless.

Surprisingly disturbing and powerful.

My Bruce McAvaney Specialness Rating*: 3+/5 (Somewhat special.)

Land of Mine – review #sydfilmfest

Land of Mine is a very grim and sobering film. Set in 1945, it tells us a little known story of the de-mining of the coast of Denmark immediately after the Second World War. After Germany’s surrender we follow a group of teenage German boys, obviously conscripted late in the war, who were sent to Denmark to remove mines from its coastline. Apparently some 2,000 German ex-soldiers were forced to de-mine these beaches and over 1,000 of them died or suffered debilitating injuries as a result.

From the very beginning this film is brutally realistic in its approach. Perhaps it is necessary if the anti-war message is ever to be widely understood. So we are introduced to the consequences of war with an abundance of violence, destruction, revenge, loss of life, waste, blame, guilt and victimisation. Very little is held back and there are many graphically realistic scenes of sheer horror.

One of the keys to the power of this film is that the cast look and act so authentically, making in even more shocking. The Danish sergeant in charge of the group of the boys, played by Roland Møller, has obviously either seen the results of German excesses during the war itself, but we are not given any details. All of the young German boys look so innocent and somewhat ashamed of their country’s role in the war. It is so effective and powerful because I think they actually are teenagers, not 24 year olds playing teenagers as is so often the case.

As the film develops, it slowly introduces and explores other emotions and the consequences of war: loss, grief, empathy, friendship, love, sympathy and perhaps forgiveness.

The film is beautifully shot, from the scenery of the Danish coastline to the close-up shots of the boys nervous hands removing detonators from the mines.

It is such a powerful film that I wonder whether it should be compulsory viewing for any politician wanting to send young people off to war or willing to spend more money on the awful industries that manufacture these horribly destructive weapons.

My Bruce McAvaney Specialness Rating*: 4/5 (Most people would think this to be special.)

War on Everyone – review #sydfilmfest

I feel somewhat conflicted writing this review less than 24 hours after the Orlando massacre. The film is very violent, but not in the same way as Orlando and although it is lame to make comparisons to other film-makers, it is not quite in Quentin Tarantino’s territory, let alone Sam Peckinpah’s in terms of gun violence. I may have reacted somewhat differently if I’d heard of the Orlando tragedy before seeing the film, but to be perfectly honest about my reaction, I found War on Everyone hilarious.

John Michael McDonagh is a brilliant film-maker and he really understands how to entertain an audience. It isn’t going to be a film for everyone, but I think a lot of lesser directors could really learn from his method. His story telling in Calvary was so much more effective than a much darker heavy-handed approach that may have been taken by many others. This is no Calvary, but it is just as wonderful an experience as a film. Although it obviously deals with real issues like gun violence, corruption, greed, child abuse and the vast multi-cultural nature of many modern societies, there seems to be no attempt to impart a strong overall moral message: it is simply a lot of fun. It certainly doesn’t make me want to head out and shoot or beat up some bad guys.

Alexander Skarsgård and Michael Peña are great as Terry and Bob, two bored cops who enjoy the excitement of breaking rules and amusing themselves at the expense of others in Albuquerque. Their dialogue, written by John Michael McDonagh again demonstrates his great facility with the English language, even in an American setting. Some of the lines might be politically incorrect cliches in the hands of others, but in this film they very elegantly sewn together throughout the film and I just laughed and laughed the whole way through it.

Bob has most of the wise-cracks but every now and then Terry throws a very funny or a very stupid line in that broke me up.  Alexander Skarsgård is very easy on the eye as Terry and his physical presence and character have me wondering whether he has become a contemporary John Wayne type of film hero. In this film he moves with the grace of a cat and even dances in one of the funnier sequences, but he also displays genuine physical vulnerability and empathy for a young boy who has been abused. His physicality is also on display during a fairly long on-foot chase sequence. It is perfectly framed and I’d say it is mostly Alexander doing his own running.

I know that comparisons are lame, but I felt this film was more like a Coen Brothers feature than a Tarantino shoot-em-up. The ludicrous lack of reality and its great use of the ridiculous make this film a stand-out for me. There are several very memorable sequences in the film that whilst completely absurd and unexpected, illustrate John Michael McDonagh’s brilliance with visual humour. These include Terry’s dance sequence, a brief sojourn to Iceland (go figure), the opening shot when they run down a mime artist getting away from a robbery, the cocaine sniffing shown in the clip above and Terry and Bob practicing their gun handling on an indoor shooting range. It doesn’t stop there. Through almost the entire film we are treated to Terry’s obsession with the music and lyrics of Glen Campbell’s greatest hits.

So, if you don’t mind this kind of thing, see it if you get the chance! You won’t regret it.

My Bruce McAvaney Specialness Rating*: 4/5 (Most people would think this to be special.)

It’s Only the End of the World – review #sydfilmfest

Xavier Dolan wrote, edited and directed this film and it won the Grand Prix at Cannes this year. Both Xavier and the film come to the Sydney Film Festival with a big reputation to live up to.

It’s Only the End of the World is based on Jean-Luc Lagarce’s play Juste la fin du monde. Gaspard Ulliel stars as Louis, a successful gay writer returning home after 12 years away, to inform his family of his impending death. We are given no further information on this. Gaspard’s performance is consistently strong throughout and he is well supported by Nathalie Baye, Marion Cotillard, Léa Seydoux and Vincent Cassel.

Despite its success at Cannes, I don’t think this play has been translated well enough for the big screen. The cast do a great job with the roles and material they’ve been given, but it simply isn’t a convincing portrayal of a family who are all extremely intolerant of each other, all the time. It may have worked well enough on stage, but I think I’d have been similarly frustrated and unconvinced.

Xavier Dolan does a good job of building the tension and works in time spent exploring Louis’ individual relationships with his siblings, his mother and his sister-in-law, but whenever they are all together the mood quickly disintegrates. They almost never stop talking at each other and poor Louis is never given much air time. We do really feel very sorry for him and he never quite gets around to passing on his tragic news. The film built to what I felt was an extremely emotional climax right at the end, but I left wondering whether this was actually cathartic for all (or any) in his family, or not. I think this was because some of the dialogue was either awkward or incongruous.

It is mostly shot indoors in quite dark light, with some very tight framing and music is well used for dramatic effect. Gaspard doesn’t say much, but he has a very expressive face and gives good tragic. There are some artistically lit interior scenes and a really beautiful lingering image of Louis when hugging his mother that is breathtaking on a big screen (you can see it from about 0:43 in the trailer above).

My Bruce McAvaney Specialness Rating*: 3/5 (Not especially special.)

High-Rise – review #sydfilmfest


High-Rise is a surrealistic film based on J.G. Ballard’s novel of the same name. It is about the descent into savagery and mayhem of the inhabitants trapped inside a brutalist high-rise block of apartments somewhere on the outskirts of London in the 1970s.

The film is much hyped, possibly because of the stellar cast including Tom Hiddleston, Jeremy Irons, Elizabeth Moss, Keeley Hawes and James Purefoy and possibly because of Tom’s amazing nude scene. As they say in the movie, he is an excellent specimen! Overall though, that wasn’t enough to carry the film or make the story interesting or that meaningful. The road to their dystopia is rapid and told with a heavy-handed and repetitive method. It isn’t enjoyable for the most part, although there are a few mildly amusing observations of the excesses of modern society along the way.

For me, by far the best part of the film, which underlines the block’s feral nadir, was a long sequence scored by Portishead’s brilliant cover version of ABBA’s S.O.S. I think they played the entire song and I reckon it is better than the original.

My Bruce McAvaney Specialness Rating*: 2/5 (Pretty ordinary really.)

Goldstone – review #sydfilmfest


I saw this at the wonderful State Theatre where the sound system, screen and setting highlighted the brilliance of the multi-talented Director Ivan Sen’s cinematography and music. This mystery and thriller follows on from his previous feature Mystery Road, also staring Aaron Pedersen as the hero, Indigenous detective Jay Swan.

The film starts brilliantly just with some of Ivan’s music and some well selected glass plate negative images from various state libraries and archives. They looked brilliant on the big screen and I was reminded of the same technique being used in Ken Burns’ Civil War series.

The two leads and twin heroes of the film are Aaron as Jay and Alex Russell as Josh the local policeman. Alex takes us on a personal discovery of his true character and Aaron learns more of his past. Almost stealing the first part of the film with a very dignified and mystic screen presence is David Gulpilil as Jimmy, a local elder. One of the film’s highlights for me was the bark canoe journey that Jimmy takes Jay on through what looks to be a sacred local gorge. He seemed to me to be singing the local history to Jay through their journey in that gorge. Gorges like this always look like natural cathedrals to me.

Apart from that gorge, the rest of the scenery is almost all desolate – barren, rocky and dusty, but Ivan arranges some beautiful overhead shots that are perfectly framed to highlight the natural colours. These are almost like one of Fred Williams’ later paintings from a similar perspective.

The film reminds us of the choices we make in life and the costs and consequences they have on others and our environment.

The two key creepy baddies in the film are played by Jacki Weaver and David Wenham. Both seem to almost be reprising corrupt creepy bad character roles from previous films. Jacki is a convincingly strong-willed greedy evil manipulator, but I think it is too close to her matriarch role from Animal Kingdom. And David needs to develop a new creepy look that doesn’t involve an awful hair style, some 1980s glasses and clothes from the era of the safari suit. My only other small gripe is that I think we could have seen and heard more of Aaron’s Jay. Jay seemed to have a much stronger presence in Mystery Road.

Both Aaron and Ivan made brief appearances on stage before the film started and answered a couple of questions. The SFF do this kind of thing very well.

My Bruce McAvaney Specialness Rating*: 4/5 (Most people would think this to be special.)