Sparked by my pick of Shadow Dancer as this week’s DVD/Stream of the Week, I’ve posted a new movie list: Best Movies About The Troubles (Northern Ireland). The Troubles was the conflict in Northern Ireland between nationalists and unionists that lasted from the late 1960s until the 1998 Good Friday Accord.
2002’s Bloody Sunday tells the story of one of the most significant moments of The Troubles, the 1972 shootings in Derry, from the perspective of a key participant – Ivan Cooper, the leader of a movement to achieve a united Ireland through non-violent means. Northern Irish actor James Nesbitt is brilliant as Cooper, a man who is trying to do the impossible – lead a mass demonstration into a tinderbox and keep it peaceful. It’s possible that either or both the unionist paramilitaries and the IRA may provoke violence to further their own aims. The British are supposed to protect the marchers from the unionists, but they’re on edge and trigger-happy. Cooper is forced to play a desperate game of Whack-a-Mole to prevent violence.
Besides Shadow Dancer and Bloody Sunday, I discuss a number of other outstanding movies about The Troubles. One film contains one of the greatest surprise plot twists in movie history. You can see the list at Best Movies About The Troubles (Northern Ireland), find out how to watch them on DVD or stream them.
The riveting thriller Shadow Dancer takes place during The Troubles in 1990s Belfast. Thirtyish single mom Collette (Andrea Riseborough) is captured by British security while planting an IRA bomb in London. Faced with the alternative of a long imprisonment with her young son snatched off to foster care, Collette reluctantly agrees to return to Belfast and inform on her IRA unit. This would make for a tense ride in any case, but Collette belongs to a crew run by her two adult brothers, and all three live with their mother.
Everyone in the cell, including the three siblings, is paranoid out of necessity. And paranoid is only a starting point in describing the IRA’s internal security chief, who soon figures out that there’s a mole in the unit, and begins a mercilessly ruthless investigation; before every interrogation, his assistant rolls out plastic sheeting on the floor – just in case an immediate execution is warranted. To make matters even more nerve-wracking, Collette’s British handler Max (Clive Owen) suspects that his superiors are making Collette expendable to protect another intelligence asset. And so we go along on Shadow Dancer’s wild ride, all the way to its noirish ending.
The heart of the film is Andrea Riseborough’s fine performance as Collette. Surrounded by suspicious friends and foes alike, she must be contained and ever watchful. She cannot reveal that the tension is ripping her apart on the inside.
All of the performances are excellent, especially Brid Brennan as Collette’s severe mother, always putting on the kettle for one of her terrorist offspring. David Wilmot is convincing as the IRA’s mole hunter, dead serious here after his comic turn in The Guard as the goon who couldn’t remember whether he was a psychopath or a sociopath.
Director James Marsh won an Oscar for his documentary Man on Wire. Marsh also directed Project Nim (one of my Best Movies of 2011) and the based-on-fact British crime drama Red Riding: In the Year of Our Lord 1980.
Here, Marsh demonstrates an excellent sense of pace. Pay attention to the scenes at the beginning with Collette’s little brother and with the London Underground. In contrast to many quick-cutting filmmakers, Marsh takes his time so dread settles in and the tension builds. It results in a top-notch thriller.
In the British farce The World’s End, five guys return to their sleepy hometown for a fabled pub crawl through all twelve local establishments – and find their old neighbors infiltrated by robot monsters from outer space (a la Invasion of the Body Snatchers). The central joke is that four of them have matured into forty-year-olds with families and careers, and they have been manipulated into this escapade by the fifth who is still stuck at age eighteen. That guy, well-played by Simon Pegg, still dresses and acts as he did in high school (and still drives the same car) – and he doesn’t see why that is not OK. The clash between this man-boy and the four regular guys is funny, and then the filmmakers add a send-up of the alien monster genre.
It’s a stellar crew – besides, Pegg, our heroes include Nick Frost (Pegg’s partner in Shaun of the Dead and Hot Fuzz, Martin Freeman (those movies plus The Office), Paddy Considine (In America, Red Riding) and Eddie Marsan (Vera Drake, Happy-Go-Lucky, Ray Donovan). The usually upper crusty Rosamund Pike is a good sport, too.
I wish it were as funny as Shaun of the Dead and Hot Fuzz, but Pegg’s earnestly immature bozo and the silliness of the alien robots can only take The World’s End so far. It’s mildly entertaining with some LOL moments, but not a Must See.
Here’s proof that it’s possible for a movie to be too dark and violent even for The Movie Gourmet.
Pieta is about a 30-year-old Korean loan shark so heartless that he cripples his unpaying clients and steals their disability payoffs. Out of nowhere, a woman finds him and claims to be the mother that abandoned him as an infant. To test whether she is really his mother, he brutalizes and defiles her (in ways that I wish I had not witnessed). Nevertheless she clings to him, and a heaping portion of maternal guilt causes him to rethink his ways.
Now my taste in film runs to the violent. I revel in Killer Joe and Django Unchained and have just praised the exploitation films Outrage and Outrage Beyond. Very violent movies like End of Watch, The Girl with the Dragon Tattoo, Sin Nombre and Gomorrah have all recently made it on to my Best of the Year lists. I particularly like the often grim and twisted offerings of contemporary Korean cinema (Memories of Murder, Mother, Oldboy, The Housemaid).
But I don’t like torture porn (which Pieta approaches) or slasher cinema. And some stories – like Pieta’s – just don’t have a payoff that makes it worthwhile to sit through the most uncomfortable screen violence. Call me a sissy.
Pieta has received some critical praise because it is well made and emotionally powerful. But that just isn’t enough to justify such sickening violence. Pieta is available on DVD from Netflix and streaming from some VOD outlets.
Actress Lake Bell wrote/directed/stars in In a World…, the story of an underachieving voice coach who still lives in the house of her dad, the king of movie trailer narration. She’s disheartened when he kicks her out to make room for his new and very young squeeze, but she lucks into a voiceover gig herself and is “discovered” as the hot new talent. In fact, she’s up for the most prestigious new payday when she finds out that her dad is not as supportive as one might expect…
Here’s why In a World… is so damn good – Bell has written a very funny comedy about a generational rivalry and woven it together with a Hollywood satire, an insider’s glimpse into the hitherto under-the-radar voiceover industry and a romantic comedy. The romantic comedy thread, in which our heroine is oblivious to the nice guy who really likes her, is better by itself than most romantic comedies. But we also get many LOL moments among the self-absorbed and back-stabbing Hollywood set. Plus there’s a very sweet story of the relationship between the protagonist’s sister and her hubby – that could stand alone and be better than a lot of indies as well..
Bell gets most of the laughs from the foibles of the characters and from really intelligently crafted dialogue. But she know how to pull off a physical gag, too. At one point, our heroine wants to be kissed by a handsome Hollywood bigshot, but when it happens, his technique is to put her entire nose into his mouth – and her surprise and discomfort is very funny.
Fortunately, Bell was able to cast Fred Melamed, a distinguished voiceover artist, as the father. Melamed has been the voice of CBS Sports, the Super Bowl, the Olympics and Mercedes-Benz. He’s also a brilliantly funny actor. I called Melamed’s performance as the hilariously pompous and blatantly manipulative Sy Ableman in A Serious Man “the funniest movie character of the decade”.
Bell’s previous roles have been secondary parts that have taken advantage of her unconventionally severe beauty. You may remember Bell as Alec Baldwin’s new trophy wife in It’s Complicated. Having written it herself, she finally has a role in which she can show her comic chops. I turns out that she’s a gifted comic actress, with screwball timing, a rich take and a knack for physical comedy.
The rest of the cast is uniformly good. I especially enjoyed Rob Corddry (Warm Bodies) as the long suffering husband of the sister.
In a World… is a complete and winning film. It’s already almost September, and so far, In a World… is the year’s best comedy.
I haven’t yet seen the British farce The World’s End or the indie criminal-on-the-run story Ain’t Them Bodies Saints, which open today. You can read descriptions and view trailers of upcoming films atMovies I’m Looking Forward To.
My other top recommendations:
The jaw-dropping documentary The Act of Killing, an exploration of Indonesian genocide from the perpetrators’ point of view, is the most uniquely original film of the year.
Woody Allen’s very funny Blue Jasmine centers on an Oscar-worthy performance by Cate Blanchett.
Another rock doc, A Band Called Death with the story of three African-American brothers in Detroit inventing punk rock before The Ramones and The Sex Pistols – and then dropping out of sight for decades.
The Irish horror comedyGrabbers, which fails to deliver on a great premise.
The astonishingly bad shocker The Rambler, with its 58 second vomit scene.
My DVD/Stream of the Week is the funny and sentimental Canadian indie Cloudburst, with Oscar-winning actresses Olympia Dukakis and Brenda Fricker. Cloudburst is available on DVD from Netflix and streaming from Amazon, iTunes, Vudu and other VOD providers.
The indie The Rambler begins as stylish mood piece. Somewhere in the barren Great Basin, a laconic guy (Dermot Mulroney) is released from prison back to his trailer, his snotty and unfaithful girlfriend and his cretinous friends. When offered a job by his brother in Oregon, he begins a road trip across the West. Although not much is happening as he begins the trek, there’s an inventive soundtrack that reels us in, along with a supporting cast of grotesques right out of Fellini or Leone.
So far, so good. Our hero picks up a mad scientist with a gadget that can supposedly record a person’s dreams on to VHS (VHS is another nice touch). 26 minutes into the film, they meet another guy in a bar, hook him up to the gadget – and his head explodes – Holy Shit – didn’t see that coming!
And then there’s the first of a few extremely disturbing dream sequences, with lots of gore. Although Dermot Mulroney keeps staring impassively through his aviator sunglasses, The Rambler turns next into an homage to David Lynch, and, finally, to Rob Zombie.
At 70 minutes, Mulroney dreams that he is strapped to a bed when a dummy dressed like an old hag plunges through the window above his head and vomits what looks like yellow paint on to his face and into his mouth. It is an extended vomit scene – 58 seconds (I timed it).
The writer/director responsible for this disjointed collection of shock pieces is Calvin Lee Reeder. It’s pretty bad, but the most insulting part of the film is the last three minutes – a montage of the road trip’s horrors, essentially a highlight reel of the movie’s shockers in case you have already erased them from your memory. I am now certainly going to follow Reeder’s career (if he has one), because The Rambler is astonishingly bad.
The Rambler is available on DVD from Netflix and streaming from Amazon, iTunes, Vudu and YouTube.
In the biopic The Look of Love, Steve Coogan plays porn king Paul Raymond, once Britain’s richest man. Raymond turned a tawdry row of Soho strip clubs into an empire of smut magazines. (Sharing a $500 million fortune, Raymond’s two granddaughters are the youngest of Britain’s 100 richest women.)
Now here’s the problem with the movie – Raymond’s life has many aspects – each worthy of a movie in its own right – including his business ascent, his gift for publicity and his marriage to and divorce from his ex-wife Jean. Most singular is his indifferent relationship with his two sons, contrasted with his affection for his anointed successor and heir, his daughter Debbie; not every guy aspires to apprentice his daughter in the porn industry. The Look of Love touches on them all, but doesn’t delve deeply enough into any one.
Imogen Poots (Solitary Man, Greetings from Tim Buckley) has the most interesting character of Debbie, but there’s not enough of her. Still, what IS contained in The Look of Love makes for an interesting story hitherto unfamiliar to us non-Brits.
The Look of Love is streaming on Amazon, iTunes, Sundance Now and other VOD outlets.
The funny and sentimental Canadian dramedy Cloudburst pairs Oscar-winning actresses Olympia Dukakis (Moonstruck) and Brenda Fricker (My Left Foot) as lesbian life partners of many decades. Because they live in Maine before the legalization of same-sex marriage there, their union is not legally recognized. The sweet-tempered Dotty (Fricker) is visually-impaired and becoming more and more infirm. Her partner Stella (Dukakis) is irascible and enjoys a startlingly vulgar vocabulary. The pair is separated when Dotty’s granddaughter moves Dotty into a convalescent home over Stella’s objection. Stella rescues Dotty and spirits the two of them off to get legally married in Nova Scotia. On the run from Maine authorities, they pick up a feckless young guy (Ryan Doucette) and head off on a very funny, and sometimes dangerous, road trip.
Cloudburst is directed and written by Thom Fitzgerald from his own play. Fitzgerald has written wonderful characters for Dukakis and Fricker to play, and their performances are superb. Surprisingly, this is the first lead role for the 68-year-old Fricker.
Cloudburst was an indie hit in Canadian theaters, but was purchased by Lifetime and didn’t get a theatrical release in the US. That’s a shame, because I think that Cloudburst could have become an art house hit like The Best Exotic Marigold Hotel. It’s a crowd pleaser.
Cloudburst is available on DVD from Netflix and streaming from Amazon, iTunes, Vudu and other VOD providers.
Lee Daniels’ The Butler is an entertaining and satisfying epic that explores the issue of race in America as reflected in the experiences of two men – a man who escaped a Southern cotton farm to become a butler at the White House (Forest Whitaker) and his son (David Oyelowo), who becomes engaged with the racial justice movement from the 60s through the 90s.
What The Butler gets right is the overall sweep of history, and it shines as an accessible history lesson. We get a taste of American race relations from the 1920s onward, and we glimpse the key moments in Civil Rights history: Little Rock school desegregation, lunch counter sit-ins, Freedom Rides, the JFK and LBJ civil rights speeches and legislation, the King assassination, urban riots, Black Power and anti-apartheid activism. The perspectives of the two main characters mirror those of Booker T Washington and W.E.B. DuBois.
Most importantly, The Butler reveals the African-American community as not monolithic, but with different (and conflicting) personality types, political views and generational perspectives. This is not accomplished very often in popular culture. Indeed, The Butler is strongest in the family moments – breakfasts, parties, arguments, sending the kid off to college – that allow the cast to bring out the textures of their characters. (And The Butler is dead-on perfect with all the periods, including the unfortunate fashions of the 1970s.)
That being said, the implausibility of the protagonists’ Zelig-like personal presence at every key historical moment is distracting. Every time Whitaker’s character brings a cup of coffee into the Oval Office, the President du moment is deciding on sending federal troops into the South, sending a Civil Rights bill to the Hill or some-such. Oyelowo’s character is a lunch counter sitter, a Freedom Rider, a Selma marcher, a MLK aide at the Lorraine Motel, a Black Panther, a Congressional candidate and an anti-apartheid leader. The coincidences are so improbable that it’s too much of the audience to suspend disbelief.
Forest Whitaker is a great actor. Here he perfectly plays a man who has strong feelings that he expresses among Blacks and that he conceals (sometimes stoically, sometimes charmingly) among Whites. We’ve been watching Whitaker since 1982’s Fast Times at Ridgemont High and his searing Charlie Parker in 1986’s Bird, right through to his Oscar win for The Last King of Scotland. My personal favorite Forest Whitaker performances are in The Crying Game and Ghost Dog: The Way of the Samurai.
Oyelowo is an actor who has come on strong in the past two years (The Help,The Paperboy, Lincoln), and here delivers a perfect performance of a man with youthful strong-headedness, self-possessed whether on the right side of history or not. He’s that brave man who does dangerous things without impetuosity.
The African-American cast is a marvel. Oprah Winfrey is outstanding as the wife/mom, and an Oscar nod is likely. Terence Howard is marvelous as the shady neighbor. Clarence Williams III (yes, from The Mod Squad) is superb as the butler’s first mentor. Cuba Gooding Jr and Lenny Kravitz are excellent as White House co-workers with very different personalities. Mariah Carey, who was unbelievably good as the social worker in Daniel’s Precious, is equally good here as the butler’s tortured mother.
The cast playing the White House’s upstairs residents do not fare so well. In the movie’s funniest turn, Liev Schreiber captures LBJ’s frenetic energy but not his imposing and sinister physicality. John Cusack has Nixon’s creepiness but not his painful social awkwardness. Robin Williams plays Ike without any military bearing or snap. James Marsden plays a pretty, but wimpy JFK. And is that Alan Rickman as Ronnie? The one impeccable performance in this category (and Daniels’ sly joke on the Reagans) is Jane Fonda as Nancy.
Overall, it’s an important, if imperfect work by director Lee Daniels (Precious, The Paperboy). (BTW – the title is not because of his ego – but because of the silly refusal by another movie studio to grant the title rights.) At times profound and at times ridiculously improbable, The Butler gets the basic truths profoundly right.
