Movie Roundup

I've been watching way too many movies lately to review them all properly, so I'm going to take the easy, lazy way out by doing a brief recap.

(Image from IMP Awards)

First up, High Fidelity (2000), based on yet another book I haven't read. John Cusack plays Rob Gordon, a music aficionado who ekes out a living running his own little record shop with his friends/employees. The tale starts with Rob being dumped by his girlfriend, after which he proceeds to list the top 5 breakups of his life (top 5 lists being a recurring gag in the film) while struggling to make sense of why his relationships keep ending badly. Cusack's excellent in the role and the film itself is witty and more than a little insightful, making Rob sympathetic while also being up front about his (serious) character flaws. It's partly a rom com for guys with a male perspective on relationships, and partly a look at geekery and fandom (in this case, music geeks). An excellent supporting cast (Jack Black is surprisingly great) and musical choices make it worth seeing.

(Image from Imp Awards)

Arrietty (2010), the latest animated film from Miyazaki's Studio Ghibli, lacks the grandeur and depth of some of their previous masterpieces but is still an excellent, if slight film. Based on Mary Norton's children's book 'The Borrowers', it tells the story of a family of tiny people (think Lilliputians) who live in secret within the walls/floorboads of a rural home, surviving by 'borrowing' food and supplies. When Arrietty, the daughter, starts becoming friends with a frail, ill boy who moves into the house, she inadvertently puts her whole family in danger. The animation is gorgeous as always with the trademark Ghibli attention to detail and inventiveness on full display, making full use of the protagonists' ultra-diminutive size in relation to ordinary household objects. Captivating and sometimes moving, the film marks another worthy entry in a long line of excellent Japanese animated films that are worth watching regardless of your age.

(Image from Imp Awards)

It's always tricky explaining this film. Brotherhood of the Wolf (2001) is a French period drama/action adventure/martial arts/horror/fantasy film, and it's one of my favourites. I suspect it's one of those films you'll either love or hate. Told with somber seriousness, the story (partly based - very loosely - on true events) is fairly preposterous, as is the mish mash of genres. A creature, believed to be a giant wolf of sorts, is terrorising the countryside of the French province of Gévaudan. The King sends his Royal taxidermist Grégoire de Fronsac (Samuel Le Bihan) to investigate and kill the creature. Accompanied by his Iroquois 'brother' Mani (Mark Dacascos),  de Fronsac finds romance, aristocratic snobbery, and potential conspiracy afoot in what at first seemed a straightforward assignment. And there's plenty of martial arts violence to boot! Visually quite sumptuous and let down only by some dodgy effects, the film exudes cool from beginning to end and easily overcomes its inherent silliness. There's a strong supporting cast including the luscious Monica Belucci (who features in one of the film's most memorable scene transitions) and the forever sneering Vincent Cassel. Tremendously good fun, I loved every minute of it!

(Image from Imp Awards)

From one outrageous movie I love to one I merely enjoyed. Drive Angry (2011) is a rare Nicolas Cage movie that I enjoyed watching, and not just because of the pleasing (and trashy) eye candy provided by co-star Amber Heard. Cage plays Milton, a dead man who escapes Hell to avenge the murder of his daughter and save the life of a baby kidnapped by a mad cult led by a ruthless maniac (Billy Burke). Accompanied by the aforementioned Heard whom he picks up early on in the film and pursued by Hell's  'Accountant' (a devilishly good William Fichtner) who is 'hell bent' (sorry!) on returning him to the afterlife penitentiary (Satan is the warden), Milton blazes a trail of sordid destruction as he pursues the cult. It's over the top in a similar way to Shoot 'Em Up was, and unapologetically so - there's a scene where Milton kills baddies in the midst of intercourse! Trashy, forgettable, but entertaining while it lasts, if you're OK with this sort of thing.

(Image from Imp Awards)

Every Thing You Always Wanted to Know About Sex * But Were Afraid to Ask (1972) is surely up there amongst the list of film's with the longest titles ever. One of Allen's earlier efforts, it's an adaptation of a novel that apparently has very little in common with its source material. The film is divided into several short sketches, each one entitled with a chapter of the book, such as 'What is Sodomy' and 'What Happens During Ejaculation'. As is the nature of sketches, some are far better than others, and this general rule of thumb makes the film a mixed bag in terms of quality. Having said that, none of them are bad, and the good ones are truly hilarious; the one featuring Gene Wilder as a doctor who falls in love with a sheep and the aforementioned 'goings on during ejaculation' tale are side splittingly funny. All of the sketches are related to sex in some way or the other; don't expect to be educated by any of them, but do expect Allen's trademark wit on display as he explores sex and sexual obsession through the prism of bizarre comedy.

Haywire (2011)

 (Image from IMP awards)

Haywire (2011)

It's not often that you get an action movie that is better received by critics than it is by the movie going public, but Haywire appears to be finding itself in just that atypical situation. This is perhaps fitting since it is an atypical action film, which may help to explain audience apathy. As one patron said to another as they left the screening I attended  (to paraphrase) "the trailer was like, sick, but the story was confusing".

In fairness, the story is a tad convoluted but not especially confusing. The film begins 'in media res' with a woman named Mallory (played by former MMA fighter Gina Carano) forced to go on the run with a hostage (Michael Angarano), to whom she recounts her tale. Mallory is an agent/operative for a private agency run by a man named Kenneth (Ewan McGregor) that carries out contracts like rescue and protection (and possibly other stuff). Following a rescue operation carried out with fellow operative Aaron (Channing Tatum) she's quickly pushed into another job, a cushy babysitting job that turns out to be anything but, one that leads to her being betrayed and hunted down by her agency and the authorities. Also in the mix are Michael Douglas as a government agent who hires Kenneth's agency for a contract and Antonio Banderas as a shady middle man.

On the surface it's a typical 'wrongfully accused hero on the run and out for revenge' tale. Actually it's essentially that beneath the surface as well, but as I said before it is atypical. The plot is silly and nonsensical but still compelling enough to drive the action. Steven Soderbergh isn't really known for making run of the mill films, and this is definitely a Soderbergh film through and through. There are many quiet periods and copious amounts of small character moments and detail throughout, and the dialogue is garrulous and delivered in a monotone that is occasionally punctuated by dead pan humour. It's visually slick, with distinctive colour filters employed, and it has an energetic and, well, 'cool' musical score.

In terms of action, there's surprisingly little of it, which may be one of the reasons people lured in by the trailer expecting non stop ass kicking may feel cheated. Despite the story being over the top, there's a grittiness to it and a believability to the central character - there are moments where Mallory seems vulnerable, like the brilliant scene in which she makes an escape walking furtively along a street, hyper sensitive to every sound and movement around her, sensing imminent danger.

Speaking of fights, they may be sparse but when they happen they are fast and furious and brutal, with a lot of wide shots and long takes making for very entertaining action sequences. Gina Carano may not be an actress, but she does have the magnetism that many other non actor action stars have, from Bruce Lee through to Schwarzenegger, and a physical presence that completely sells the action. She doesn't lose any fights, but she does take some brutal blows along the way. There's an impressive sequence where she's climbing and jumping along rooftops in long takes that aren't showy but are impressive for simply being her actually doing these things.

Carano isn't great in the talky scenes, nor is she bad; she seems just right for the tone and style of the film. The rest of the very impressive cast more than compensate for any deficiencies in the acting department with their performances, including when they get their asses handed to them at some point or the other in a brutal beat down!


Haywire is a very good action thriller that stands out from the crowd in the same way Hanna did last year (my review) by being a film that embraces the genre it represents while also transcending it in many ways. I guess an interesting and talented filmmaker can always bring something to the table, even when that table is a well worn and cliche ridden genre.