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Film: Psalm 21
Year of production: 2009
UK Release date: 30th May 2011
Distributor: Revolver
Certificate: 15
Running time: 114 mins
Director: Fredrik Hiller
Starring: Jonas Malmsjö, Niklas Falk, Björn Bengtsson, Görel Crona, Josefin Ljungman
Genre: Horror/Sci-Fi/Thriller
Format: DVD
Country of Production: Sweden
Language: Swedish
Review by: Matthew Evans
The debut film of Swedish director Fredrik Hiller, Psalm 21 is a horror film with ambitions. Sure, it features many a decaying ghost and a man with a haunted past – core staples of any horror film – but it also has a chip on its shoulder; Mr. Hiller has a bone to pick with religion.
The film tells the story of Henrik Horneus (Jonas Malmsjo), a Christian priest who lives his life by the words of the New Testament. When Henrik learns of his father's death from an apparent drowning accident, he decides to travel to the isolated village in which his father's body was found. However, his arrival and subsequent suspicion as to the true circumstances of his father's death set Henrik on a collision course with his past - a past he would much rather forget.
In his quest to solve the mystery of his father's death, Henrik finds himself haunted – quite literally – by the ghosts of his past. As the truth finally outs, Henrik battles to save himself from his own personal hell and, in the process, learns a few home truths about the religion which he holds so dear...
Angry Biblical texts and gruesome ghosts with a propensity to scream at passersby abound, Psalm 21 doesn't give itself all that much to work with. In the style of many horror films before it, Psalm 21 is a rather mundane 'who done it' murder mystery, dotted with supernatural goings on and a few cheap camera tricks. What's more, it has an agenda, and it's intent on ramming it down your throat.
At first glance, the film looks rather promising; Asian horror has quite clearly influenced much of Psalm 21's style. Washed out colours and decent special effects combine to give the film a moderately eerie feel. However, the plausibility of the film is abruptly shattered the moment Jonas Malmsjo opens his mouth.
The film's contrived dialogue is not only unconvincing but, in many cases, laughable. This is demonstrated in the scene where Henrik learns of his father’s death, in which Malmsjo's performance fails to convey any consistent emotion. From an ice cold glare to a wobbly lipped murmur to a hysterical fit of laughter, Henrik comes across as somewhat of a psychopath, rather than a character with which one could sympathise. The intention of this scene is, of course, to convey Henrik's haunted past and his mixed emotions when confronted by his father's death. Instead, Henrik comes across as somewhat of an oddball.
Sadly, the performances on offer merely highlight the film's other failings; primarily its script. Psalm 21 trundles along for most of its duration, apparently content with its generic 'murder-mystery' script, and if it had continued along this path it might warrant some small degree of respect. However, things take a rather unexpected turn as we reach the film's climax. In a rather unexpected move, the director goes about voicing some of his thoughts on organized religion. As many of his opinions had been more subtly expressed throughout the film, this really was a silly move. The fact that Fredrik Hiller felt the need to ram his views down the throats of his audience merely demonstrates the weaknesses of his film.
Long gone are the days when a director could get away with producing a successful horror film with a few cheap camera tricks. You are fooling no-one by hiding a decaying child behind a bathroom door or having ghosts miraculously appear as a camera circles a character in a 360 degree shot. Fredrik Hiller is mistaken if he thinks a few cheap scares, a handful of CGI ghosts and controversial statement on religion will save him.
However, there are some positive aspects to Psalm 21's script. As mentioned above, for most of its duration the film does allude to the overarching message which it so painfully preaches during its closing scene. If it were not for this final scene, the film could be complimented on its interesting depiction of Henrik's personal hell. Even though every twist is clearly signposted, the script does offer brief hints of originality.
Psalm 21 is a rather disappointing, if not painfully predictable, addition to the horror genre. Whilst its script occasionally alludes to something deeper, acting as a denouncement of organised religion, it is undermined by the film's appalling closing scene. Sadly, terrible performances, forced dialogue and cheap camera tricks conspire to offer the crippling blow to this hellishly flawed film. ME
Film: The Devil Dared Me To
Year of production: 2007
UK Release date: 23rd May 2011
Distributor: FrightFest
Certificate: 18
Running time: 75 mins
Director: Chris Stapp
Starring: Chris Stapp, Matt Heath, Bonnie Soper, Andrew Beattie, Phil Brough
Genre: Action/Comedy
Format: DVD
Country of Production: New Zealand
Language: English
Review by: Matthew Evans
Directed by Chris Stapp, The Devil Dared Me To offers a gore filled, yet comic, take on the world of stunt performers. Whilst it is first and foremost a slapstick comedy, the fact that it screened at FrightFest, back in 2007, just goes to illustrate the film's fixation with blood, injury and death.
Randy Campbell is a young boy with big dreams. Following in the footsteps of his ancestors, Randy mounts his push bike and stares out across the ocean. Randy, just like his father, was born to be a stuntman; it's in his blood. Facing a sheer cliff face, Randy snubs his cigarette on the fuse of a rocket which has been strapped to the back of his bike; he is about to jump fifteen miles across the Cook Strait. Hurtling toward the cliff face, his bike mounts a strategically positioned ramp, before wobbling and falling to the ground.
Randy may have failed, but his spirits are soon raised with the news that Dick Johansonson, a big name in New Zealand daredevil stunts, is coming to town. Living with his overprotective uncle and horrifically scarred aunty (the result of a stunt which claimed the life of his father), Randy decides to ignore his uncle's wishes and sneak out of his bedroom window to attend the performance. Then, moments before Dick's performance, he is offered an opportunity to take part in the stunt. However, when the stunt goes horribly wrong, Randy is injured and his aunt and uncle (who arrive moments before) are tragically (comically) killed.
Due to his injuries, Randy is offered the opportunity to join Dick's team. We rejoin Randy several years later as he desperately pleads with Dick to give him a shot at performing a stunt. After several refusals, Randy takes matters into his own hands and finally proves himself a talented performer.
But, as Randy enjoys his newfound success, Dick becomes increasingly hostile. Fuelled by jealousy, Dick does everything in his power to put an end to Randy's career and reclaim his dwindling fame as New Zealand's most talented daredevil. A tale of rivalry, resulting in excessive bloodshed, The Devil Dared Me To charts the rags to riches tale of Dick Johansonson and Randy Campbell's lifelong quest to prove himself a talented stuntman and, eventually, jump New Zealand's Cook Strait…
The Devil Dared Me To seeks to do for daredevils what This Is Spinal Tap did for the music industry. Both a lampoon and a love letter to the industry, it seeks to depict both the appeal and absurdity of the stunt world. But, unfortunately, it fails in its primary aim. With a heavy reliance on physical comedy, crude language and moronic characters, it can only stand as a lampoon of the industry. There are many dismembered bodies, numerous burning cars and an abundance of narcissistic personalities, but all of this merely acts to ridicule the industry it depicts. There is nothing appealing about this world, let alone anything to love.
What the film does not lack is gore. And it is because of this excessive gore - and only because of this - that the film qualifies as a 'comedy'. It's not surprising that the director assumed such extravagant bloodshed would go down well with audiences. After all, the success of Jackass rests on our morbid fascination with pain and injury. However, dangerous stunts suddenly become less appealing when depicted in a fictitious film. Whilst the actors may have performed many of their own stunts, a choreographed film does not offer the possibility of any serious injury and, therefore, fails where the likes of Jackass succeed.
Another of the film's most blatant and crippling flaws is its generic characters; the likes of which are all too often seen in such comedies. Unlike its American counterparts, such as Blades Of Glory (which is a terrible film in its own respect), The Devil Dared Me To makes no attempt to develop its characters. Whilst The Devil Dared Me To and Blades Of Glory both fail to produce witty dialogue or feature remotely original scripts, it is to the latter's credit that it seems to pay at least some degree of attention to its characters.
The film may have offered a few laughs if only Chris Stapp's character, Dick, were given a little more thought. But his role as the jealous performer and arch-rival of the film's protagonist is one that has been seen time and time again. Frequently drunk and unashamedly self-centred, Dick most certainly lives up to his name. However, he lives up to that name in the most banal of ways. Whether it be strapping a bomb to Randy's car or slurring profanities at spectators, his character is weak and painfully predictable.
Whilst the film fails to offer anything new, it does do something: it rakes up an overused tale of comic rivalry and not only reminds us of all the failed attempts that came before it, but takes the genre to an all-time low. The Devil Dared Me To struggles to evoke even the occasional chuckle; unless, of course, you consider several grown men smashing vodka bottles over one another’s heads 'comedy'. Its intentions may be noble but, even with its numerous bloody corpses and phrases such as “jizz lobber,” it is, unfortunately, a resounding failure. ME
Film: The Lighthouse
Year of production: 2006
UK Release date: 11th April 2011
Studio: Second Run
Certificate: 12
Running time: 75 mins
Director: Maria Saakyan
Starring: Anna Kapaleva, Olga Yakovleva, Sos Sargsyan, Sofiko Chiaureli, Ruzana Avetisyan
Genre: Drama
Format: DVD
Country of production: Russia/Armenia
Language: Russian
Director Maria Saakyan's first feature film, The Lighthouse is a semi-autobiographical tale which unfolds against the backdrop of the Causicus Wars of the early 1990s. With its powerful themes and art house feel, it proved a huge success at the London Film Festival in 2007 and finally gets its long overdue UK release.
The Lighthouse tells the tale of a young woman named Lena (Anna Kapuleva) who returns to her hometown in order to evacuate her grandparents. However, upon her arrival, she soon finds that her grandparents are less than willing to leave the home they have long cherished. With the train she arrived on no longer in service, Lena finds herself caught up in a conflict she little understands (nor cares to understand).
Although her decision to return home seems to have been driven by more than the ongoing war; Lena grapples with memories of her childhood and longs to revisit the town she remembers so fondly. Caught amidst the absurdity of war, Lena, her family and her neighbours do all that is possible to continue living a normal life. Although, with food stocks running low and the horrors of war ever present, they find the prospect of living a normal life to be increasingly unattainable…
The Lighthouse has ‘art house cinema’ written all over it. With dialogue in very limited supply, the film relies solely on visuals to convey its story. The film tells a story which is equally horrifying as it is nostalgic; nostalgic for a past that seems almost like a dream, amidst the horrors of war. Clearly, its story is one which can only be told with the utmost subtlety and, hence, is perfectly suited to styles of art house cinema.
Some may merely discard the film's style as pretentious drivel, with its countless shots of misty hills and poetic overtones. In some cases, such style is employed to cover up a shallow script or two dimensional characters (after all, one character staring into space, looking rather intense, does not make for a good film), but in the case of The Lighthouse, this style offers a subtle approach to some relatively unexplored themes.
Given the film's focus of visuals, one's connection with its characters is rather surprising. The film conveys the effects of war upon an isolated community without the need for a complex plot of any kind. Instead, the camera remains focused upon the faces of people who want no part in the war which threatens to engulf their isolated town. With such subtlety, many of the film's scenes are open to interpretation and encourage a range of emotional responses. Even those scenes with dialogue throw up more questions than they answer. For example, in one scene Lena talks in a way that suggests she may be pregnant. Although, this is only briefly alluded to and no more comes of this brief discussion.
With so much emphasis on characters and the effects of war upon members of the community, convincing performances are of vital importance. Thankfully, impressive performances are in abundance. Not least from the film's main character, Lena. As a city girl and an outsider, Lena feels particularly out of place in this war torn environment. Her emotional performance clearly illustrates this. In one particular scene, bombs explode nearby as Lena lies in bed. She desperately scrambles for a shotgun, clutching it to her chest as flames illuminate the night sky. As Lena trembles, tears rolling down her cheeks and clutching a shotgun for protection, the film's message could not be clearer: those caught up in such conflicts are often innocent bystanders who merely wish to live their life in peace. The collateral and emotional damage of war is most felt by those who have no interest in it.
However, whilst the film's subtle style works to its credit, its lack of decisiveness is somewhat of an irritation. Beyond depicting the effects of war on ordinary citizens, which it deserves much credit for, it never seems to make a decisive point. In fact, every scene is shrouded in uncertainty. But, that said, the film's short runtime of 78 minutes almost justifies this indecisiveness. At such a length, it stands as a piece of cinematic poetry which seeks to depict the emotional toll war takes on a community, rather than make any sort of statement.
At heart, The Lighthouse is an anti-war film which seeks to stress the importance of community. With its poetic style, the film leaves an indelible mark on its viewer and is an impressive piece of art house cinema. Some may find its indecisiveness irritable and its visual style pretentious, but it will surely be warmly welcomed by those who appreciate unconventional, artistic films. The Lighthouse is a striking reminder of what a beautiful art film can be. ME
Film: Blood Simple
Year of production: 2009
UK Release date: 18th April 2011
Distributor: Momentum
Certificate: 12
Running time: 95 mins
Director: Zhang Yimou
Starring: Sun Honglei, Xiao Shen-Yang, Yan Ni, Ni Dahong, Ye Cheng
Genre: Action/Comedy/Crime/Drama/Thriller
Format: DVD
Country of Production: China
Language: Mandarin
With a catalogue of critically acclaimed films to his name, amongst which House Of Flying Daggers and Hero, Zhang Yimou's latest film, Blood Simple, offers a new take on the Coen Brothers’ 1984 film of the same name. A neo-noir crime thriller set in Texas, the original was successful in propelling the Coen Brothers to fame and has come to embody many of the themes often associated with their work. In short, it was a resounding success and stands as an iconic piece of independent cinema. Needless to say, Zhang certainly had his work cut out.
Wang, the rich owner of a small noodle shop situated in a remote desert town, is controlling, ill-tempered and often short-changes his workers. What's more, he's just discovered his long-term wife is having an affair with his apprentice, Li. Shamed by his wife's illicit behaviour; he hires a local patrol officer, Zhang, to murder them and dispose of their bodies, in exchange for a large sum of money. But, as the title suggest, Wang quickly discovers that murder is often anything but simple.
Outwitting his client, Zhang fakes the couple’s death and Wang unwittingly hands over the sizeable fee for their murder. With the transaction complete, Zhang wastes no time in firing a bullet into Wang's chest, ensuring Wang takes their exchange to his grave. Although, just as Wang discovered, such secrets are not easily hidden, even when one is as cautious as Zhang. From a sordid deal between two men, to the calculated murder of Wang, to the disposal of his corpse, each character finds themselves entwined in a web of guilt…
Zhang's Blood Simple bears many similarities to the original. Not only has Zhang done little to alter the original plot, but there are several scenes which are deliberate reconstructions of the original. Even so, Zhang's remake successfully offers a fresh and interesting take on a piece of iconic Western cinema. Combining light-hearted, theatrical comedy with some thoroughly dark themes, Zhang offers up a truly unique experience. Alternating between slapstick comedy and extended scenes depicting the meticulous disposal of bodies, Blood Simple stirs up a range of emotions, whilst offering all the glamorous visuals often associated with a Zhang Yimou feature.
Although, whilst the odd use of slap-stick comedy (particularly prevalent in the film's first act) within an otherwise dark crime-thriller will excite some, it may well alienate some fans of the original. In the case of Blood Simple, the success of its translation ultimately lies in the eye of the beholder and whether they believe glamorous visuals are ever justified when adapting a piece of classic independent cinema. However, in the case of Blood Simple, Zhang has far more to offer than impressive visuals.
Whilst the theatrical performances of some characters may not translate well with Western audiences, they are no doubt subdued by Honglei Sun's rather menacing performance as the patrol officer, Zhang, hired to kill Wang's wife. Zhang could quite easily have been plucked out of many a Coen brothers' script. In fact, he bears some resemblance to Anton Chigurh (Javier Bardem) of No Country For Old Men. Speaking very little throughout the duration of the film, his character is exposed via his despicable acts of cold-blooded murder.
The impact of this thoroughly engaging performance is undoubtedly increased by the film's beautiful camera work. Extended shots expose Zhang's attempts to correct the ever occurring flaws in his sadistic plan, whilst others frame Zhang as he frantically dashes along the corridors of the noodle shop, following one of his potential victims. Such camera techniques not only prove to make the film a visual treat, but they increase the tension felt during many scenes. Here, Zhang proves his understanding of visual grandeur exceeds the occasional, colourful slow-motion shot.
That said, whilst the themes of Blood Simple differ from Zhang's other works, it maintains the visual style employed in Zhang's previous films. As well as the interesting cinematography outlined above, Blood Simple offers all of the glamorous visuals of Zhang's previous films. Whilst the film's script may be a huge departure from the likes of House Of Flying Daggers, its visuals are just as breathtaking.
Blood Simple is an oddity. It takes a well respected piece of independent Western cinema and lavishes it with an extravagant Eastern flare, as only Zhang Yimou can do. With such a talented director at the helm, its translation is a treat to behold. Although, in order to fully respect the nature of Zhang's Blood Simple, it is important to draw a line between the original and this new adaptation. Zhang's Blood Simple takes the script from the original, but his colourful characters and spellbinding visuals transform this work into an entirely new experience. Zhang's film is bold, interesting and, as is to be expected, a visual treat. It is an 'oddity', and it is this that makes Blood Simple such a wonderful cinematic achievement. ME
Film: The Door
Release date: 18th April 2011
Certificate: 15
Running time: 99 mins
Director: Anno Saul
Starring: Mads Mikkelsen, Jessica Schwarz, Heike Makatsch, Nele Trebs, Rüdiger Kühmstedt
Genre: Drama/Fantasy/Mystery/Thriller
Studio: Optimum
Format: DVD
Country: Germany
Given the opportunity, would you really want to change the mistakes of your past? Anno Saul's dark fantasy-thriller The Door won itself the Aurora award at the 20th Tromso International Film Festival, whilst asking this very question. However, its critical reception has been somewhat mixed; the likes of Variety, disappointed with Saul's offering, have endorsed an “English-lingo remake.”
David Andernach (Mads Mikkelsen) is a successful artist who seems to have it all; a beautiful wife, a cute young daughter and a lavish house. Then, one summer’s day, all this is snatched away when he chooses to pay a visit to his mistress instead of looking after his daughter, Leonie (Valeria Eisenbart), who trips whilst playing in the garden and drowns in the family pool.
Fast-forward five years and David has lost his wife, Maja (Jessica Schwarz), and is wracked with guilt. However, following a botched suicide attempt, David finds himself presented with an opportunity to alter his past. Happening upon a hidden door, David is transported back five years, to within moments of his daughter's death. Confused, he dashes to his house, throws himself into the pool and saves his daughter. Inevitably, this comes at the cost of his former-self who, upon returning from his rendezvous with his mistress, is quickly disposed of.
With the benefit of hindsight, David uses this second chance to alter his ways and become the husband and father his family deserve. Although, it quickly becomes evident that there may be hidden consequences for his actions and this new world may not be all it seems …
Surprisingly, The Door doesn't dwell on the technical aspects of time travel. In fact, the film exists in a world which is seemingly unfazed by concepts such as time-paradox. Instead, The Door chooses to use the concept of time travel in a metaphorical sense, finding itself much more concerned with the evolution of the human character than the technicalities of time travel. In this respect, the film can be said to be a resounding success and a much welcomed break from most films of its genre. Far from being a clone of other time travel films, The Door asks some interesting questions: does the benefit of hindsight really make us any better than our past selves? And given the opportunity, would you really want to right the wrongs of your past?
First and foremost, it is The Door's talented cast that hold the film together and make it such a success. Mads Mikkelsen offers an astonishing performance as David, a man wracked with guilt, desperate to correct the mistakes of his past. The reason for his commendable performance lies not with his ability to deliver lines of dialogue (which are few and far between) but with his ability to convey the unimaginable emotions David feels when faced with the family he had once lost. Mads conveys David's yearning for his wife, whose trust he must regain following a string of affairs, in the most convincing and moving of ways. One example of this is a scene in which David watches his wife as she enters the kitchen, as if he were seeing her for the first time. He clearly longs to hold his wife and tell her he's a changed man but knows he much refrain from doing so. Mads conveys this beautifully without speaking a single line of dialogue; his body language speaks volumes for the pain he feels.
Similarly, Jessica Schwarz and Valeria Eisenbart give two very strong performances. Jessica plays the role of David's wife, who has been driven to distrust her husband following his numerous affairs. Like Mads, her emotions are expressed without much need for dialogue and both performances complement one another perfectly.
Valeria also offers a wonderful performance as David's young daughter, who immediately notices a change in her father. This aspect of the film is particularly impressive, for both Valeria's performance and the way in which the father-daughter relationship is subtly handled. Leonie's reaction to the revelation that her father has been replaced by another man is particularly commendable and is just one of the reasons why, despite its implausible plot, the film feels so convincing. In fact, it would be fair to assume that the film would have been a huge disappointment, if it were not for its talented cast. The quality of the film's performances allow one to suspend disbelief in its time travel plot and engage with its characters on a deeper level.
Aside from its intriguing themes, the film looks and sounds rather beautiful. With its sleek cinematography, you'd be forgiven for thinking it was a high-budget Hollywood production. Furthermore, the film sounds wonderful, thanks to Fabian Romer’s dramatic score. All of this has a profound effect on the overall feel of the film and compliments the film's third act, which offers far more in the way of suspense as several plot twists unfold.
Anno Saul's The Door excels as a metaphor for one's desire to change the past. Its wonderful performances, dramatic musical score, beautiful cinematography and intriguing script make it an enjoyable, and somewhat thought provoking, watch. The film's many memorable performances lie at the heart of its success but, thanks to its unpredictable plot, The Door also works as an impressive fantasy-thriller. Its presentation of time travel may be implausible but, fortunately, this doesn’t detract from the overall experience. The Door is certainly a memorable, not to mention thoroughly entertaining piece of German cinema. ME
Film: The Diplomat
Release date: 14th March 2011
Certificate: 15
Running time: 180 mins
Director: Peter Andrikidis
Starring: Dougray Scott, Rachael Blake, Jeremy Lindsay Taylor, Richard Roxburgh, Claire Forlani
Genre: Action/Crime/Drama/Mystery/Thriller
Studio: Showbox
Format: DVD
Country: Australia/UK
This is an English-language release.
The Diplomat is a two part Australian-British TV series. Stars of Mission Impossible 2, Dougray Scott and Richard Roxburgh, both feature alongside one another in a show that attempts to offer a new spin on the international action-thriller genre, dealing with themes such as counterterrorism in a style somewhat reminiscent of 24.
Dougray stars as Ian Porter, a British diplomat who is arrested by Scotland Yard on charges of smuggling drugs out of Tajikistan for Russian mobsters. Unbeknown to Scotland Yard, Porter is an MI6 detective, working deep undercover. With Porter in custody and Detective Chief Inspector Julie Hales (Rachael Blake) pushing him for answers, MI6 worry for the security of an operation that has been years in the making - an operation that appears to go far beyond the realms of drug smuggling.
In exchange for immunity, Porter agrees to enter a witness protection program, along with his ex-wife, Pippa (Claire Forlani). As Detective Hales continues to push for answers, Porter finds himself caught between MI6 and a Russian Mafioso, both concerned as to Porter's loyalty. As the truth slowly becomes evident, Porter finds his life turned upside down.
Enemies on all sides and with no room for mistakes, Porter must navigate the suspicion and deceit of both MI6 and the Russians, in order to prevent potential catastrophe and follow, what he believes to be, his destiny…
Despite its three hour running time, The Diplomat offers a rather intricate and, arguably, clever plot. Caught between two very different worlds, Porter's isolation, along with a rapidly evolving plot, make The Diplomat a thoroughly gripping watch. With an abundance of plot twists, the series is anything but boring. But, despite all of this, The Diplomat feels a little too familiar. Even with its seemingly clever plot, it never seems to achieve much beyond the occasional cheap thrill, and it only requires a brief look beneath the surface to discover why this is the case.
First and foremost, The Diplomat's script features a wide range of dull and predictable characters. The depiction of MI6 as the authoritative figure, which engages in some rather immoral acts in the name of self-preservation, feels a little over used. Especially when this is used to contrast the bumbling actions of an incompetent Scotland Yard who seem, for the most part, incapable of grasping the nature of the situation. This contrast of an intelligent, yet devious, MI6 and a narrow minded Scotland Yard (who cause nothing but problems for Porter), feels terribly lazy and predictable. The depiction of the Russian mob as ruthless, and occasionally idiotic, criminals only adds to the abundance of uninspired characters.
That said, not all of the show's characters are completely two dimensional. For example, the actions of Pippa, Porter's wife, often allude to hidden motives, which are never fully explored. It would also be fair to point out that Inspector Hales certainly deviates from her knuckle-headed colleges at Scotland Yard. Her character evolves somewhat during the course of the series, eventually aiding Porter in his efforts to bring down the Russian Mafioso he had been attempting to topple whilst working for MI6.
Most important is the chief protagonist, Porter, whose character is somewhat of a disappointment. Many of Porter's motives are mystifying, to say the least. In a rather odd move, the death of Porter's son (who drowned in a swimming pool, years earlier) is linked to his decision to help MI6 topple a Russian Mafioso. Somehow, it is this absurd plot line that holds the entire show together. Why Porter is prepared to sacrifice his life, and the lives of those around him, for a cause that bears no relation to the death of his son is truly mystifying.
Furthermore, there are other aspects of the show's plot that feel a little lazy. Several characters, including Charles Van Koors (Richard Roxburgh), make uncharacteristic decisions during the course of the show, which only prove to undermine the credibility of the plot.
However, despite its many flaws, The Diplomat remains surprisingly entertaining. The reasons for this are a little harder to pin down, but it may well be the fact that the show disguises its unoriginal plot with some fairly unfamiliar locations. With much of the action taking place in Australia, a plot which would otherwise be boring and predictable is transformed into somewhat of a unique experience.
Whilst The Diplomat may feature an intricate plot, it is littered with flaws. Similarly, its characters aren't developed enough to warrant any real merit. Although, the show is surprisingly entertaining and oddly engaging given its predictable plot. Even if the film cannot be credited with any major achievements, it is a decent international action-thriller which offers more than its fair share of thrills, even if many of them fail to stand up to critique. ME
Film: War
Release date: 21st February 2011
Certificate: 15
Running time: 120 mins
Director: Aleksei Balabnov
Starring: Aleksey Chadov, Ian Kelly, Ingeborga Dapkunaite, Sergey Bodrov Jr.
Genre: Action/Drama/War
Studio: Palisades Tartan
Format: DVD
Country: Russia
Directed by the popular Russian filmmaker Aleksei Balabanov, best known for his 1997 film Brother, War is a tale of revenge in war-torn Chechnya. The film's main themes were thrown into the international limelight, not long after the its original release in 2002, following an incident in which a Moscow theatre was held hostage by Chechen rebells. Controversially, Special Forces used gas in a heavy-handed attempt to immobilise the Chechen captors, resulting in the death of over one hundred hostages. In light of such events, War's militaristic themes have been criticised by some, whilst its lack of a disconnected and sanitised depiction of war has been positively received by others.
On tour in Georgia, British actor John Boyle (Ian Kelly) and his fiancée Margaret (Ingeborga Dapkunaite) are captured by Chechen rebels. Having witnessed the brutal murder and beheading of two Russian soldiers, both are thrown into a cellar and held hostage, alongside a Russian conscript named Ivan (Aleksey Chadov). However, when the Chechen rebel leader realises his captors' ransom money is unlikely to materialise any time soon, he releases John to raise two million pounds in order to secure the release of his fiancée, Margaret. The Chechen leader also frees Ivan as a gesture of goodwill, but makes it clear that if John fails to raise the ransom money within two months, his fiancée will be raped and killed.
Whilst John travels to Britain, raising a relatively small sum of money, Ivan returns home. With no money, his father ill in hospital and no job, Ivan finds himself in the position of many post-war Chechnya veterans. Having nothing to lose, Ivan agrees to help John return to Chechnya, in order to save his fiancée…
In many respects, the plot sounds alarmingly similar to many terrible Hollywood action films, in which the characters fight off countless two-dimensional ‘bad guys’, blow up a few vehicles and save the day; not to mention becoming lifelong buddies thanks to the experience. Thankfully, War avoids these pitfalls and is anything but a predictable action film. With a striking sense of realism and lack of sentimentality, War is gritty and surprisingly sophisticated in its handling of a topic that is little discussed in film.
The range of characters that are brought together by the film's script offer an interesting range of perspectives. On the one hand, there's the tough Russian conscript, Ivan; unflinching in the face of death. On the other is the extremely timid British actor John, who never really seems to grasp the nature of the situations he finds himself in. However, in contrast to the aforementioned characters, the Chechen rebels are portrayed as stereotypical religious fanatics, with little depth beyond their merciless acts of decapitation. That said, this depiction of the rebels appears to be ironic in nature, an attempt on behalf of the director to reflect the views held by many Russians (after all, the film is narrated by Ivan).
Surprisingly, the film's action sequences are rather muted and are unlikely to get your heart pounding. But, in a way, this is what makes War a rather impressive action film. The action sequences, whilst anything but visually arresting, add a sense of realism that is not achieved by many films of this genre. Many scenes are long and drawn out, and offer nothing in the way of a satisfying resolution. This is the one aspect of the film that is most likely to divide viewers and, most importantly, what separates it from many modern action films.
Whilst the action sequences may be slow, the film does feature many notable shots and some stunning cinematography. From beautiful, mountainous backdrops to impressive tracking shots, Balabanov cannot be said to have created a film which is visually unsatisfying. Thanks to the film's extraordinary sense of realism, many shots which otherwise may be of little interest are particularly memorable. A scene in which John and Ivan roll a Jeep over the edge of a cliff, sending it crashing down the cliff face, is particularly memorable (if not for its beauty, then for the fact that it doesn't explode into flames).
Another point to note is the documentary-like feel of various scenes. Many scenes are shot using low quality camcorders, sometimes alternating between hand-held cameras and more conventional shots, providing a far more personal view of the events unfolding on screen. Most importantly, the director manages to pull this off without cheapening the overall feel of the film.
Many of the actors also offer some decent performances, although none can be described as 'exceptional'. Ian Kelly proves rather amusing as the timid Brit who, upon being captured and beat, informs his captors that they are not respecting his human rights. The transformation of his character, who appears far more focussed in a war situation by the end of the film, is also interesting. This is comically illustrated in a latter scene, in which John sits beside his distraught wife, apparently “pumped up” following the experience of combat, blissfully unaware of the trauma his wife has endured.
War is a breath of fresh air to a genre that can often lack imagination. Balabanov never sacrifices his characters to ostentatious action sequences which are detached from reality. Instead, the film explores a conflict that is rarely depicted in film and offers an interesting mix of drama and action. It may not be a groundbreaking film, but it's certainly an impressive addition to its genre. ME
Film: Leap Year
Release date: 28th February 2011
Certificate: 18
Running time: 92 mins
Director: Michael Rowe
Starring: Monica del Carmen, Gustavo Sánchez Parra, Armando Hernández, Diego Chas, Marco Zapata
Genre: Drama
Studio: Axiom
Format: DVD
Country: Mexico
Produced on an extremely low budget and the directorial debut of Michael Rowe, Leap Year has attracted some considerable controversy, an impressive degree of critical acclaim, and has recently won the Camera D'or Award at the Cannes Film Festival. Exploring the nature of loneliness and pushing the boundaries with its sexually explicit scenes, Leap Year proves an extremely daring film from this first time director.
The film chronicles twenty-nine days in the life of a Mexican, freelance journalist named Laura Lopez (Monica del Carmen). Almost entirely shot in her cramped apartment, the film explores her lonely, isolated existence and emotionally detached sexual encounters with numerous men.
Laura's life seems to consist of nothing more than eating cheap tinned food, secretly masturbating over her neighbours and conjuring up fantasies of a non-existent social life. This last point is illustrated during various phone calls with her mother, in which she proves herself to be a prolific liar, explaining how she has prepared steak for dinner, when in fact she is eating baked beans straight from the tin, and describing close relationships with friends who evidently do not exist.
However, a calendar hanging on her apartment wall, the last day of the month coloured red, offers a hint toward a haunted past. Laura marks off each day of the month religiously with a black cross, counting down to the 29th February, a day which is of particular significance to Laura.
Unexpectedly, after various sexual encounters, she meets a man named Arturo (Gustavo Sanchez Parra), with whom she begins a strange, sexual relationship. Both engage in acts of sadomasochism, their encounters becoming more violent in nature as the film progresses.
Rather than being a romanticisation of sadomasochism, the film explores her motivation to perform degrading sexual acts and hints toward sexual abuse during her childhood. As the 29th approaches, the film offers some of its most explicit and disturbing scenes, delving into the darkest parts of the human psyche…
Michael Rowe has admitted that the main reason for the film being set entirely within Laura's apartment was due to a lack of funding. It would certainly seem that, given the film's preoccupation with loneliness and isolation, the low budget worked in its favour. The effect of shooting the film in one location, and offering only three actors with speaking parts, certainly enhances the viewer's ability to relate to Laura's isolated life.
However, Rowe's minimalist approach expands beyond this; the film consisting entirely of static shots. There are no camera movements and many scenes are shot using just one camera angle. This doesn't seem to be a result of a low budget but more a decision of the director to keep the focus strictly on the actors and their performances.
Rowe's willingness to place the film's success solely in the hands of its three actors was a bold move, but a move that more than pays off. Rowe's casting of Monica del Carmen and Gustavo Sanchez Parra for the main roles cannot be commended enough. Whilst Parra offers depth to a character we are, for good reason, told little about, Carmen appears to throw herself into one of the most disturbing roles depicted on screen. In one scene, a mere distant gaze from her apartment window speaks volumes to the loneliness felt by her character, Laura. In another far more disturbing scene, she lies on her apartment floor whilst Arturo urinates on her, a scene which pushes many boundaries whilst offering a graphic demonstration of her own self-loathing, a product of her distant past. With such graphic scenes of humiliation, escalating as the film progresses, it is a testament to Rowe's directorial skills that Carmen would put so much trust in this first time director.
With minimalist cinematography and all focus directed toward the actors, the film's linear direction also helps enhance the relationship between the viewer and Laura. Rowe has written a script which keeps the viewer engaged in a way that many films fail to achieve. At no point does the director employ the use of flashbacks or present the narrative in a non-linear fashion. Instead, Rowe offers insights into Laura's past via telephone calls and conversations between the two main characters. This alone is applaudable, given the fact that many films, often lazily, use flashbacks and fancy editing to offer depth to the their characters.
Leap Year is a prime example of low budget filmmaking at its very best. In fact, it demonstrates how some films can benefit from a reduced budget. The film tackles some truly dark themes in a way many directors would not dare to attempt. Michael Rowe's directorial debut is visually impressive, features an extremely moving, if not disturbing, script and some incredibly impressive performances. ME
Film: Battle Royale
Release date: 28th February 2011
Certificate: 18
Running time: 109 mins
Director: Kinji Fukasaku
Starring: Takeshi Kitano, Chiaki Kuriyama, Tatsuya Fujiwara, Noriko Nakagawa, Tarô Yamamoto
Genre: Action/Horror/Thriller
Studio: Arrow
Format: DVD & Blu-ray
Country: Japan
Labelled as “crude and tasteless” by members of the Japanese parliament, a decade on, Battle Royale still proves popular with audiences the world over. Upon its release, the film was nominated for several Japanese Academy Awards, and in 2009, Quentin Tarantino spoke of it as being his favourite film of the last two decades. This 3-disc release from Arrow Video has a host of extras, and a glorious high definition restored transfer of both the theatrical and director’s cut.
Battle Royale opens with Japan at the dawn of the millennium. Unemployment is high and students boycott schools. Adults, fearing their nation's youth, pass the Millennium Educational Reform Act, otherwise known as the BR Act. The purposes of the BR Act quickly become apparent, when we are introduced to a class of students who are nearing the end of their compulsory education. Once a year, a class of students are sent to a secluded island to participate in a game, the Battle Royale, and these are this year's unlucky participants.
The BR Act is promptly explained to its unwitting participants, with the help of an educational video, featuring a morbidly upbeat presenter. Each student is tagged with an electronic necklace and instructed to kill their classmates over the course of the next three days. At the end of the three days, if more than one student remains, their necklaces will detonate, killing all who remain...
It's not difficult to see why Tarantino holds this film in such high regard. Kinji Fukasaku's Battle Royale takes its viewer on a rollercoaster ride, alternating between an extravagant blood bath one moment and a high school drama the next. Its ultra-violent scenes and rather sadistic premise lie at the heart of what has made this film such a success. But the rather elegant, if not extreme, scenes of violence are firmly supported by some terrific dark comedy.
Ultimately, Battle Royale features many of things we'd come to expect from a teenage high school drama. Just as in any high school, the film's characters can easily be characterised into 'geeks', 'outcasts' and 'superficial bitches'. The major difference being, these emotional, jealous and troublesome teenagers are thrown into a big-brother style arena and equipped with knives, tazers and guns.
Whilst most of the film follows the activities of the students over the course of the game, brief flashbacks offer insights into the background of each student. Whilst this isn't enough to form any meaningful, emotional attachment to any of the characters, it does help give the story a layer of depth, beyond all the mindless killing.
That's not to say the film is nothing more than a comic blood-fest. Battle Royale, through all its bloodshed, does make some rather striking comments on society. On one hand, it exposes the perverted nature of reality television, whilst on the other, it condemns society's attitude toward its youth. Admittedly, the film (unlike the book) is a little ambiguous when it comes to this latter theme.
What's more, through all the comic action sequences, the film's young cast give some truly excellent performances. With Battle Royale relying heavily on action sequences to drive forward its narrative and, in turn, bring each character to life, it is quite an achievement to see a cast, whose average age could not exceed 15, giving such exceptional performances.
Ever since its release, Battle Royale has been both celebrated and criticised for its graphic violence. Although, it's hard to see where there is much justification for criticism, as its violence is always humorous in nature. In many respects, Kenta Fukasaku's use of gratuitous violence is rather elegant, as well as humorous. One memorable scene depicts Kazuo Kiriyama, a true 'bad ass', as he fires a handgun at a girl, who also appears to lack any compassion for the students she kills. ‘Air auf der G-Saite’ plays as she stumbles backward with each successive shot. In any other context, and lacking the talented hand of Kenta Fukasaku, this film may well have been a rather morbid affair. But the director's keen eye for humour makes Battle Royale's violence something to applaud, rather than condemn.
Battle Royale is an extremely impressive film, acting as a true representation of Japanese cinema at its best. Kenta Fukasaku has created a film which rivals, if not exceeds the likes of Tarantino's Kill Bill. Unlike many other films that glorify violence, it retains a comic feel and considerable depth, making Battle Royale a truly stunning piece of Japanese cinema. ME
Film: Life Is Beautiful
Release date: 22nd January 2001
Certificate: PG
Running time: 122 mins
Director: Roberto Benigni
Starring: Roberto Benigni, Nicoletta Braschi, Giorgio Cantarini, Giustino Durano, Sergio Bini Bustric
Genre: Comedy/Drama/Romance/War
Studio: Miramax
Format: DVD
Country: Italy
Winning three Academy Awards, Life Is Beautiful was, for the most part, considered a great achievement by many critics. That's not to say it came without some harsh criticism from a few, who considered mixing comedy with themes such as the holocaust to be in bad taste. Life Is Beautiful is a film of two parts, opening with a light-hearted, comic first act, before moving into much darker territory. The film's second half explores the human spirit and its ability to survive, even in the face of one of the harshest environments imaginable - a German death camp.
The film is directed and co-written by Roberto Benigni, who also stars as Guido, a Jewish hotel waiter in 1930s Italy. Guido sports a larger-than-life personality, using his humorous disposition to free himself from many a sticky situation, and befriend those he meets on his adventures. Arriving in a new town, he quickly becomes infatuated with a beautiful woman named Dora (Nicoletta Braschi, Benigni's real-life wife), who is engaged to the town clerk. Dora soon falls for his charms, opting to leave her fascist fiancé for Guido.
Years pass, and Guido and Dora have a 5-year-old son named Joshua (Giorgio Cantarini). But there are stark differences to the town we witness earlier in the film. It's 1945, nearing the end of the war, and anti-Semitic graffiti adorns Guido's bookshop. As the town's Jews are rounded up and forced onto cramped trains, Guido, with his inexhaustible positive outlook on life, instinctively tries to turn the traumatic events into a game to comfort his son, Joshua.
Arriving at the death camp, Guido offers to stand as translator for one of the German guards, despite not being able to speak a single word of German. Guido seizes the opportunity to create an elaborate game for his son, explaining that the first person to reach 1000 points will be awarded a tank (not a toy tank but a real one). By creating such a fiction for his son, Guido is able to shield Joshua from the brutal realities of the death camp, laughing off suggestions that the German's are gassing Jews and turning them into soap.
Whilst Guido struggles with his son, he is also aware that his wife (who is not Jewish but insists on being taken to the camp along with her family) is imprisoned in another section of the camp. Guido juggles his responsibilities toward his son, whilst attempting to contact the woman he loves via any means at his disposal…
Life Is Beautiful is certainly a unique film, but, as some critics have asked, is this unique mix of themes necessarily a good thing? Roberto Benigni offers up some wonderfully comedic moments - that cannot be disputed. Guido offers a positive outlook on life that is certain to warm the hearts of many viewers. But what truly makes this film such an achievement is its ability to show that the human spirit can prevail in even the harshest of environments.
Life Is Beautiful is not a film about the holocaust - if it were, it would be a failure. The film is an exploration of a man’s ability to overcome extreme hardship. It achieves this, quite masterfully, by presenting us with the most high-spirited character imaginable, and throwing him into an unimaginably soul destroying environment.
Despite the film's comic outlook on the world, Life Is Beautiful respectfully handles its sensitive subject material. It never attempts to make wide, sweeping statements about the holocaust but, from the very outset, presents itself as an exploration of the human character.
Whilst there's a definite contrast between each half of the film, both complement each other perfectly. The first half offers some colourful, physical comedy, whilst initiating and developing relationships which are crucial to the latter half of the film. Sure, the film's second half features many comic moments, but we never forget the relationships forged in the film's first act and, as a result, truly sympathise with the characters as they are separated and forced into the German death camp.
The film's characters are vibrant and loveable, and there are wonderful performances from the entire cast, most notably Roberto Benigni and his onscreen son, Giorgio Cantarini. The film's memorable and witty dialogue only adds to the impressive performances, truly bringing the film to life.
Given what Benigni set out to achieve, he was right to mix light-hearted comedy with such dark themes. There are so many places where Benigni could have gone wrong with Life Is Beautiful, but he pulls it off perfectly. The film is unique, inspiring and deserves the credit it has been awarded by many critics. ME
Film: A Very Long Engagement
Release date: 2nd January 2006
Certificate: 15
Running time: 134 mins
Director: Jean-Pierre Jeunet
Starring: Audrey Tautou, Gaspard Ulliel, Dominique Pinon, Chantal Neuwirth, André Dussollier
Genre: Drama/Mystery/Romance/War
Studio: Warner
Format: DVD
Country: France/USA
Disallowed from becoming a candidate for the Cannes Film Festival, due to it being screened outside of France, and deemed "too American" to receive French subsidies by a Paris court, the release of Jean-Pierre Jeunet's A Very Long Engagement was not without its fair share of controversy.
Combining beautiful cinematography with the backdrop of WWI France, A Very Long Engagement explores the beauty of hope and the absurdity of war. The film begins with the story of five soldiers who are court-martialled for injuries they inflict upon themselves in the hope that they'll be dismissed from service. The five men are sentenced to death and thrown into the no man's land between the French and German trenches.
All five men are reported to have perished, but Mathilde (Audrey Tautou), the fiancée of Manech (Gaspard Ulliel), one of the men sent over the top, refuses to believe this is the case. "If Manech were dead," the narrator explains, "Mathilde would know."
Following her intuition, Mathilde embarks on a quest to find out what became of her beloved fiancée. Talking to survivors and the widows of men killed during the war, she slowly pieces together an intricate puzzle that draws her ever closer to Manech. A Very Long Engagement depicts the lengths an individual is willing to go to for love and the manner in which war destroys the lives of all that come into contact with it…
Jean-Pierre Jeunet has achieved something rather interesting with A Very Long Engagement. The film combines elements of comedy and romance, as seen in Amelie, with some rather serious subject matter. Whilst the film maintains the quirky, comic feel of Jeunet's previous films, it manages to paint an incredibly impressive portrait of the horrors of war.
Some of the film's most visually arresting moments come during the WWI battle scenes, which, whilst offering the odd offbeat, comic moment, give a haunting sense of the absurdity of war. Jeunet uncharacteristically employs the use of some rather gruesome violence, which helps to counteract the otherwise upbeat feel of the film. Sweeping shots capture waves of men racing up over the trenches, only to be met with a continuous spray of bullets from German machine guns. Despite the mix of quirky characters and weirdly wonderful scenes, such as a blimp explosion above a makeshift hospital, Jeunet respectfully handles the subject of war.
As always, Jeunet's characters are unconventional and colourful. The cast deliver impressive performances, clearly helped by the fact that most of them have worked with Jeunet on a number of his previous films. These rounded characters work perfectly with the film's script, which, whilst being simple, is brought to life by the diverse range of characters who inhabit it. From Mathilde's dog-flatulence-loving aunt Bénédicte (Chantal Neuwirth) to the aptly labelled “officer killer,” Tina Lombardi (Marion Cotillard), A Very Long Engagement features an impressive host of wild and wacky characters. Heck, there's even a cameo from actress Jodie Foster, who is surprisingly fluent in French.
Although, there is to be no doubt, as with Jeunet's classic, Amelie, Audrey Tautou steals the show. The film would be nothing without Audrey's vibrant, loveable performance as Mathilde. Audrey draws us in and helps to make Mathilde's quest to find her fiancée a moving and memorable experience. A weak performance from the lead role in A Very Long Engagement would have surely seen the demise of the entire film, but Audrey pulls it off beautifully.
The argument that A Very Long Engagement feels like an American film appears to have some merit. The film's high budget certainly sets it apart from Jeunet's other works, such as Delicatessen (or even Amelie, for that matter), but that is not to say the film's budget negatively effects the quality of the film. A Very Long Engagement retains the style of Jeunet's previous films and, similarly, its success remains indebted to its unique characters. If A Very Long Engagement feels slightly ‘Americanised’ because of its high budget, it certainly isn't to its detriment.
A Very Long Engagement's depiction of the indelible marks that war leaves upon everyone it touches, and its story of one woman's quest to find the man she loves, is thoroughly engaging. It doesn't always feel as memorable and original as some of Jeunet's previous films but it does boast all of the classic quirks associated with a Jeunet film, including memorable performances from its wonderful cast and some truly beautiful imagery. ME
