It’s time for my quarterly dose of purposefully watching a shit film (see January’s Bride Wars) in an effort to get into the mindset of the general public pleb in order to try and extend the audience catchment area of this site. Granted, calling everyone a pleb might have just hindered my plans, but let’s be honest – anyone who watches this shite on purpose probably can’t read anyway.
So, after successfully insulting everyone let’s get down to it. 17 Again is the offspring of Big and Freaky Friday, the lazy-bods in Disney having the brain wave of making the guy younger instead of older – genius! We await 17 going on 70, when Dame Judi Dench wakes up to find she’s now Miley Cirus. God that’d be a good film.
The main draw of this film is Zac Efron. This is the guy all the kids have been going on about, the star of the rampage-inducing High School Musical series, who is now reaching an age where it’s morally acceptable to like him for us older ‘kids’. People seem to love Zac because of his dreamlike eyes, perfect hair, cheeky charm and slender yet muscular frame. This is just what I’ve read, anyway. It’s easy to see why he’s popular, the lad carrying this film happily enough, with smart little replications of his older-self’s mannerisms (Matthew Perry, looking like a haggard crab in comparison to his younger star, and thus probably wanting to kill himself by the end of the shoot).
Zac seems almost too perfect, though, the product of some sort of Disney breeding programme which is spawning hundreds of mini-Zacs and Zacettes (the trailers showed us what to expect in the future – hundreds of mini-Zacs singing and dancing and smiling at you. For ever. And ever.) It’s slightly disconcerting, but also intriguing – will our Zac steer his career like DiCaprio, swapping pretty-boy for pretty-damn-amazing film choices? Or will he head the way of Britney, damaged and distorted by the press? Although let’s be honest – he’s a guy, so the press aren’t going to make fun of him being too fat or too thin, or wait around to get shots up his trousers (there’s an idea for them…)
Efron is in fact upstaged by nerdy adult best mate Ned (Thomas Lennon) who steals the majority of laughs, or “smirks” as they more often were. Some amusingly cringey and weird moments aside (young Zac + old wife, or more worryingly, young Zac + daughter) 17 Again is largely unremarkable but not wholly unpleasant, made bearable by the antics of Ned and Efron’s effortless charm. A few gratuitous slo-mo shots of him without a top on seem to sweeten the deal. With a good message for the kids (stop being such a whiney-pants about screwing up your life, and don’t have unprotected sex or you’ll turn into a whiney-pants who’s screwed up his life) this is reasonable, but sits below the superior original Big and the ultimately more fun 13 going on 30. It just about sneaks in to a CF0 on the strength of its cast. And because it didn’t have a song in it.
Wednesday, April 29, 2009
Wednesday, April 22, 2009
22nd April 09 - In the Loop
Usually a comedy with more than a couple of writers suggests once of those that have required extensive rewriting and extra fart gags just to fill the naff joke quota. But In The Loop’s writing team is an obscure-comedy fan’s wet dream, featuring those involved with genius like Partridge (Armando Iannucci – also the director of In the Loop), Peep Show (Jesse Armstrong), The Armstrong & Miller Show (Simon Blackwell), and the TV-parent of this film The Thick Of It (Ian Martin & Tony Roche, as well as everyone else already mentioned).
Such writing delights make for a dialogue-snappy film, sparkling with diamond-sharp insults and eloquent put-downs dripping in sarcasm (the “willy-banjo” a particular favourite). The plot is at first sprawling, with various characters colliding with each other in a seemingly directionless manner, until the plot threads are suddenly and swiftly tied together in a blunt and bold attack on one of the biggest government lies in the last decade.
The characters are too numerous to go through, but the big favourite has to be Malcolm Tucker (Peter Capaldi), a Scottish powerhouse of cunning anger and superfluous swearing, dodging the simple “angry sweary man” label through some excellent acting from Capaldi when we spy a few cracks in his tough hide. The rest of the cast are equally excellent and each get their turn to shine, including James Soprano, sorry, Gandolfini, who has the best angry-breathing ever.
With Iannucci’s laid-back direction and unfolding plot development, In the Loop feels more like a feature-length BBC3 comedy than a multiplex dweller, but compared to the rest of mostly tosh out in the cinema at the moment, there’s no harm in watching a TV comedy on a massive screen surrounded by strangers. Funny, sharp, intelligent and ever so slightly depressing, In the Loop is a proud example of Britain’s writing talent, and a withering reminder of how crap politics can be. It easily makes a CF2.
Such writing delights make for a dialogue-snappy film, sparkling with diamond-sharp insults and eloquent put-downs dripping in sarcasm (the “willy-banjo” a particular favourite). The plot is at first sprawling, with various characters colliding with each other in a seemingly directionless manner, until the plot threads are suddenly and swiftly tied together in a blunt and bold attack on one of the biggest government lies in the last decade.
The characters are too numerous to go through, but the big favourite has to be Malcolm Tucker (Peter Capaldi), a Scottish powerhouse of cunning anger and superfluous swearing, dodging the simple “angry sweary man” label through some excellent acting from Capaldi when we spy a few cracks in his tough hide. The rest of the cast are equally excellent and each get their turn to shine, including James Soprano, sorry, Gandolfini, who has the best angry-breathing ever.
With Iannucci’s laid-back direction and unfolding plot development, In the Loop feels more like a feature-length BBC3 comedy than a multiplex dweller, but compared to the rest of mostly tosh out in the cinema at the moment, there’s no harm in watching a TV comedy on a massive screen surrounded by strangers. Funny, sharp, intelligent and ever so slightly depressing, In the Loop is a proud example of Britain’s writing talent, and a withering reminder of how crap politics can be. It easily makes a CF2.
Wednesday, April 15, 2009
15th April 09 - Let the Right One In
Last week I challenged the fictional film world to try and live up to the high marks the last two documentaries have gained. It seems they heard me over in Sweden.
Let the Right One In is a lovely tale of a young boy in 80s Sweden whose human interaction consists of dodging bullies and being ignored by his parents. Lucky for him there’s a new next door neighbour, a girl around his age. Although she’s only out at night, doesn’t feel the cold and is partial to some human haemoglobin. Bless. It’s just how I imagine Angel rip-off Twilight to be, if the characters were 12 year old Swedish kids instead of hormone fuelled preeners.
This film avoids the leather jacket cliché and instead puts vampires back to being creatures, preying on humans with an animalistic lust for blood, growling and pouncing – unusual when on the outside this beast is a 12 year old girl. Eli, played by Lina Leandersson, is superb, being only 14 in real life and yet evoking such age and experience in her eyes when playing the older vampire, with a sorrow bedded in her eyes at the lonelier aspects of her existence. Her human counterpart, Oskar (Kare Hedebrant), sporting possibly the most stereotypically Swedish hair-do ever, is equally good, a fact confirmed by my Swedish correspondent.
The violence in this film is stark yet unflashy, at times surprisingly brutal (acid + face = youch) but sometimes almost comically so, particularly in the beautifully composed swimming pool scene. Cringy CGI cats aside, the film is visually solid, the icy Swedish backdrop clashing nicely with the warmth of the two lead’s developing friendship. It tests your morality somewhat, and that’s part of its charm. On the one side a heart-warming tale of friendship where it’s most needed, on the other a dark glimpse into a potentially destructive and violent relationship.
Let the Right One In takes a couple of old formulas (vampire mythology plus child befriending non-human – see ET) and melds them into something captivating, beautiful and slightly disconcerting. Always nice to get a film with such varying tones, this soars to a CF3, and claws back another victory for the world of fiction. Go on. Let the right film in.
Let the Right One In is a lovely tale of a young boy in 80s Sweden whose human interaction consists of dodging bullies and being ignored by his parents. Lucky for him there’s a new next door neighbour, a girl around his age. Although she’s only out at night, doesn’t feel the cold and is partial to some human haemoglobin. Bless. It’s just how I imagine Angel rip-off Twilight to be, if the characters were 12 year old Swedish kids instead of hormone fuelled preeners.
This film avoids the leather jacket cliché and instead puts vampires back to being creatures, preying on humans with an animalistic lust for blood, growling and pouncing – unusual when on the outside this beast is a 12 year old girl. Eli, played by Lina Leandersson, is superb, being only 14 in real life and yet evoking such age and experience in her eyes when playing the older vampire, with a sorrow bedded in her eyes at the lonelier aspects of her existence. Her human counterpart, Oskar (Kare Hedebrant), sporting possibly the most stereotypically Swedish hair-do ever, is equally good, a fact confirmed by my Swedish correspondent.
The violence in this film is stark yet unflashy, at times surprisingly brutal (acid + face = youch) but sometimes almost comically so, particularly in the beautifully composed swimming pool scene. Cringy CGI cats aside, the film is visually solid, the icy Swedish backdrop clashing nicely with the warmth of the two lead’s developing friendship. It tests your morality somewhat, and that’s part of its charm. On the one side a heart-warming tale of friendship where it’s most needed, on the other a dark glimpse into a potentially destructive and violent relationship.
Let the Right One In takes a couple of old formulas (vampire mythology plus child befriending non-human – see ET) and melds them into something captivating, beautiful and slightly disconcerting. Always nice to get a film with such varying tones, this soars to a CF3, and claws back another victory for the world of fiction. Go on. Let the right film in.
Tuesday, April 14, 2009
8th April 09 - Religulous
Ah religion. Like the whole football idea last week, religion is another concept to have escaped my understanding. As a child I prayed to god that I’d stop having bad dreams, and when I discovered this didn’t work I came to the realisation that it was all a bit made up and silly. This was a nine year-old’s conclusion. The fact that fully grown adults – millions of them – still cling to religion is baffling, and it seems comedian Bill Maher agrees as he heads up this documentary on just why people still practice religion, and the harm it can do to the human race.
Maher embarks on his journey with a bemused fascination with beliefs, asking the obvious questions that aren’t asked often enough and at times highlighting the corrupt and hypocritical nature of those who preach. He uncovers some characters who are ridiculous enough to cause hilarity – the self proclaimed “reincarnation of Jesus” (who makes money via a tv show), the man who plays Jesus in a Christian theme park in Florida, a gay man who married a lesbian and now refuses to believe that “gay” exists, and the creator of the first creationist museum. But alongside such people – we’ll call them “mentals” – Maher adds his own humour, be it smirking asides or cheeky add-ons in the form of subtitles or clips of popular culture to emphasise his point. Or just make fun.
And this isn’t just a Jesus-bashing, as Maher covers a variety of religions (albeit with a heavy focus on Christianity and a lighter touch on others, although since criticism of others can land you with death threats it’s no wonder why he steps more carefully). His overall point – that we need to stop this nonsense and concentrate on more important things like not destroying the earth and each other – is an important point to make, and makes you wish this film was made available to a wider audience rather than a small cinema screen full of guffawing pretentioles like me.
Though at times it seems the focus runs off course in favour of interviewing mentals for laughs, Religulous is still a funny and important documentary, enraging as it enlightens and making a point that’s so bloody obvious it’s painful – painful when you know not nearly enough people realise it already. I demand you find a partial believer and trick them into seeing this film, perhaps under the guise that it’s “The Passion – part two”. If we can get the casual believer on to the rational side, perhaps there’ll be enough of us to tackle such nonsensical ideas like having religious politicians.
Religulous scores an impressive CF3, another high score for another documentary (see Anvil). Come on “fictional” films – can you keep up with real life?
Maher embarks on his journey with a bemused fascination with beliefs, asking the obvious questions that aren’t asked often enough and at times highlighting the corrupt and hypocritical nature of those who preach. He uncovers some characters who are ridiculous enough to cause hilarity – the self proclaimed “reincarnation of Jesus” (who makes money via a tv show), the man who plays Jesus in a Christian theme park in Florida, a gay man who married a lesbian and now refuses to believe that “gay” exists, and the creator of the first creationist museum. But alongside such people – we’ll call them “mentals” – Maher adds his own humour, be it smirking asides or cheeky add-ons in the form of subtitles or clips of popular culture to emphasise his point. Or just make fun.
And this isn’t just a Jesus-bashing, as Maher covers a variety of religions (albeit with a heavy focus on Christianity and a lighter touch on others, although since criticism of others can land you with death threats it’s no wonder why he steps more carefully). His overall point – that we need to stop this nonsense and concentrate on more important things like not destroying the earth and each other – is an important point to make, and makes you wish this film was made available to a wider audience rather than a small cinema screen full of guffawing pretentioles like me.
Though at times it seems the focus runs off course in favour of interviewing mentals for laughs, Religulous is still a funny and important documentary, enraging as it enlightens and making a point that’s so bloody obvious it’s painful – painful when you know not nearly enough people realise it already. I demand you find a partial believer and trick them into seeing this film, perhaps under the guise that it’s “The Passion – part two”. If we can get the casual believer on to the rational side, perhaps there’ll be enough of us to tackle such nonsensical ideas like having religious politicians.
Religulous scores an impressive CF3, another high score for another documentary (see Anvil). Come on “fictional” films – can you keep up with real life?
Monday, March 30, 2009
30th March 09 - The Damned United
The lure of football bypassed me at birth. Becoming emotionally affected to the point of violence, tears or shouting at the telly is a foreign concept to me when it comes to football. I’m bemused by people who are totally obsessed with something that ultimately has no real physical impact on their lives (unless you are actually a footballer or stand to have monetary gain from a team winning). I can understand it, though – a sense of solidarity and probable fun. It’s a concept that’s sullied by the knob-heads who use it as ways to be general knob-heads, but I suspect they’d exploit any popular activity they set their sights on. Cos they’re knob-heads.
Anyway, the purpose of my intro, aside from a way of using the term “knob-head” 3 times (now 4) because it’s a great insult used too rarely at the moment, is to give you some context into how I approach this film. I have no interest in football, and subsequently no knowledge. If a “sport-movie” was to make a big deal about its sport in a big huffy serious manner then I’m not interested, unless it’s a crazy sport like, um, pig racing. I’d watch a film about that. Definitely. Otherwise, a “sport-movie” needs to have something else – character, perhaps – that’ll swing it.
So Damned United sweeps in with a vibrant character to take the lead – Brian Clough – a chap who took on Leeds United and was promptly sacked 44 days later. Brian is an arrogant son-of-a-gun, mouthing off to the media, two fingers to the stuffy club chairs, gaining startling success by bringing up naff Derby and then stonking failure with dirty Leeds. His pride and ambition drive him, sometimes bringing triumph, sometimes costing him more than just some points on the table. With a focus on Clough rather than the game, Damned United nicely avoids stuffy sport territory, the only footie shots featuring my favourite parts (dirty fouls…) and it even handily explains things VERY CLEARLY for those finding football leagues hard to follow.
Michael Sheen steps into Clough’s shoes with cheeky gusto, at times nailing him perfectly (I know this as they showed the real Clough at the end – handy) but other times slipping into a bit of a Frostier direction. His supporting cast are sturdy (Timothy Spall, Jim Broadbent) and director Tom Hooper blends 70s grime into the screen for a nostalgic fuzzy glow. But for such a lively character the film at times felt flat, the crackle between Clough and rival manager Don Revie could have been electric, but instead felt a little subdued, and the overall impression was solid TV drama rather than engaging cinema fodder.
Though my perception may be marred by a lack of enthusiasm for the overall subject matter, and by the knob-heads in the cinema who decided to discuss the film through-out (and should have known better, being married adults) I still can’t get too excited about this. It wasn’t a flop by any means, and engaged enough on a non-sport level, but fails to gain anything more than a general recommended CF0.
Saturday, March 21, 2009
21st March 09 - Watchmen
Let’s be honest. Does the world of cinema really need another graphic novel adaptation? Even if it’s supposedly “the greatest graphic novel ever in the world ever, like, ever” as it seems to have been labelled. Do we really need to see more slow-mo visuals, laced with technology that’s already impressed a few times over? Do we need to see a big glowing blue-man’s schlong?
Wednesday, March 18, 2009
11th March 09 - Gran Torino
“The second Eastwood film of the year” isn’t a phrase I’d usually type with relish, given his directed films are often slightly hyperinflated, what with critics forming a plug while attempting to kiss his arse. Despite being 20 minutes too long, Changeling wasn’t actually half bad, and Gran Torino is marked as the last film to feature Eastwood in front of the camera. He’s about 102 years old, so it’s fairly understanding.
Gran Torino is angry Clint – grumpy Clint – basically, Hulk Clint. He is moments from grunting “Clint bash” during a tempter tantrum, has a Batman-esque perma-gravel to his voice, and sometimes displays such a comedy-level of anger that you wouldn’t be surprised if jets of steam were shown shooting out of his ears. At times he looks so weirdly old and angry that his face mirrors that of the moments in the two newest Hulk films where they are in transition between real person and Hulk – a sort of CGI face that looks like the actor but is a bit odd and veiny.
Anyway, Gran Torino is this comedy-style angry Clint fighting neighbourhood gangs, providing a father figure, and just generally being quite racist. If you’ve seen the trailer then it’s fairly obvious of the entire story arc, and to be honest even if you haven’t it’s still reasonably paint-by-numbers. That’s not to say it isn’t entertaining, Clint’s grumpy man bristling against his bratty children and an over-enthusiastic priest being particularly amusing.
Still you can’t help but feel this comedy grump act is oddly juxtaposed with some horrific violent acts – almost as if it’s actually not too bad because it’s a “non-American” being attacked. And the continuous reliance on weapons makes you wonder if it’s sponsored by the National Rifle Association. Need to solve a dispute? Whip out a gun! It’s fun – with a ‘g’. I should sell that tag-line.
Anyway, this is very much a Clint vehicle, with some strikingly poor supporting acting in some places, and you’d wonder if it would be half as popular without the leading man. Still, he gets to close his final film as an actor with a nice Jesus comparison (check out the pose) which I’m sure critics will clamour to agree with. Many are recommending this purely because it is his last. I don’t see why this should be the sole reason to watch it, and its weak plot (feels like a film that was made in the 90s – don’t ask me why) doesn’t give any further points. The only reason would be to chuckle at angry Clint, but if you watch the trailer you’ve pretty much covered it. Therefore Gran Torino gets a slightly underwhelming CF-1. Sorry Clint. Don’t bash me. Or shoot me…
Gran Torino is angry Clint – grumpy Clint – basically, Hulk Clint. He is moments from grunting “Clint bash” during a tempter tantrum, has a Batman-esque perma-gravel to his voice, and sometimes displays such a comedy-level of anger that you wouldn’t be surprised if jets of steam were shown shooting out of his ears. At times he looks so weirdly old and angry that his face mirrors that of the moments in the two newest Hulk films where they are in transition between real person and Hulk – a sort of CGI face that looks like the actor but is a bit odd and veiny.
Anyway, Gran Torino is this comedy-style angry Clint fighting neighbourhood gangs, providing a father figure, and just generally being quite racist. If you’ve seen the trailer then it’s fairly obvious of the entire story arc, and to be honest even if you haven’t it’s still reasonably paint-by-numbers. That’s not to say it isn’t entertaining, Clint’s grumpy man bristling against his bratty children and an over-enthusiastic priest being particularly amusing.
Still you can’t help but feel this comedy grump act is oddly juxtaposed with some horrific violent acts – almost as if it’s actually not too bad because it’s a “non-American” being attacked. And the continuous reliance on weapons makes you wonder if it’s sponsored by the National Rifle Association. Need to solve a dispute? Whip out a gun! It’s fun – with a ‘g’. I should sell that tag-line.
Anyway, this is very much a Clint vehicle, with some strikingly poor supporting acting in some places, and you’d wonder if it would be half as popular without the leading man. Still, he gets to close his final film as an actor with a nice Jesus comparison (check out the pose) which I’m sure critics will clamour to agree with. Many are recommending this purely because it is his last. I don’t see why this should be the sole reason to watch it, and its weak plot (feels like a film that was made in the 90s – don’t ask me why) doesn’t give any further points. The only reason would be to chuckle at angry Clint, but if you watch the trailer you’ve pretty much covered it. Therefore Gran Torino gets a slightly underwhelming CF-1. Sorry Clint. Don’t bash me. Or shoot me…
Saturday, February 28, 2009
28th Feb 09 - The International
The International has been described as a mix between Bond and Bourne. I can concur with this in a way. It is a mix of the talky bits in Bond that act as fillers between the fight scenes, and the bits in Bourne where they show shots of different European cities. The rest of the mix is filled with shit.
Wednesday, February 25, 2009
25th February 09 - Anvil: The Story of Anvil
Although its title sounds like a Norwegian cartoon about a small Viking man on a quest for a golden coin, Anvil: The Story of Anvil is probably the best film to grace Cinemafool’s vision so far this year. Although to be fair the crop has been mostly “pretty good” thus far, so it’s easy for something to shine.
But Anvil isn’t just a real life Tap. Though it’s undeniably funny, lead singer Steve ‘Lips’ Kudlow and drummer Robb Reiner melt humanity into the mix. Their strive to continue to do what makes them happy, debt and failure be damned, is both uplifting and heart wrenching at the same time. You chuckle at the half empty bar they’re having to play in, but your heart is also breaking on their behalf. Eccentric, weird, nutters – whatever you want to label them at first – once their quest is stripped to the nub it resonates with all, and suddenly these are just guys wanting to make their lives mean something.
Thursday, February 19, 2009
18th Feb 09 - Doubt
The Oscars loom so everything is very Important right now, and everyone is Acting lots and lots. A film adapted from a play about churchy folk and child fiddling seems to tick many Oscar boxes, which often suggests a film is about to be either long, depressing, self indulgent, serious or overinflated nonsense. Amazingly Doubt trots over all such preconceptions and emerges fresh, riveting, amusing and thoroughly enjoyable.
Bringing in a whopping 4 actor-related Oscar noms, Doubt could have been a blank backdrop allowing people to act away while sacrificing a bit of the entertainment factor (see Revolutionary Road…) But its cast powerfully drive the story, a compelling tale of “who dunnit”, or rather “did he dunnit…” when a priest is suspected of messing with an altar boy’s holy vestibule.
Chief investigator is headmistress nun Meryl Streep (up for best actress) who cuts a terrifying figure of authority, channelling her Devil Wears Prada performance into something harsher yet warmer at the same time. Her character delivers the majority of the laughs, her crushing bluntness and devout determination to prove she is right being the central spike to the tale. It’s a perfect role for her to play, but she doesn’t completely steal the limelight. Ever brilliant Philip Seymour Hoffman (up for best actor) plays the priest in the spotlight, superbly mixing creepy (he definitely did it…) with sympathetic distress (he definitely didn’t do it…) The myriad of emotions crossing his large face could indicate any of the two outcomes, and you’ll have as much fun as Streep’s character in trying to decide if he’s telling the truth. Well, as much fun as you can have in investigating such dodgy things.
Taking up the supporting reigns is angel-faced Amy Adams (up for best supporting actress) whose naivety is beautiful, particularly when it cracks, and Viola Davis (also up for best supporting) playing the boy in question’s mother, and probably displaying the best bit of acting snot I have ever seen.
Though adapted from the stage, Doubt sidesteps the usual pitfalls (no one is trying to project across the stalls) but original playwright John Patrick Shanley (nommed for best screenplay) steps up to adapt and direct and perhaps takes some of his stage techniques a little too far. The inclusion of visual analogies is at times so blatant he may as well have had a character carry a load of heavy bags, then exclaim “oh woe is me, I have so much emotional baggage”. The crazy weather and unreliable light bulbs cut into the drama just a little too much, detracting from the already formidable subject matter which is filled with enough subtext to not need any more slathered on the screen.
Still, quibbles aside this was a fully enjoyable film, with superb performances and a simple yet completely effective plot. Points for mashing entertainment with potent drama, and extra points for letting me watch Streep and Hoffman size each other up. Doubt slinks in with a CF2, the first of the year. And check it out – I didn’t even make one single doubt-related pun. But I did mention a child’s holy vestibule. I’m not sure which is worse.
Bringing in a whopping 4 actor-related Oscar noms, Doubt could have been a blank backdrop allowing people to act away while sacrificing a bit of the entertainment factor (see Revolutionary Road…) But its cast powerfully drive the story, a compelling tale of “who dunnit”, or rather “did he dunnit…” when a priest is suspected of messing with an altar boy’s holy vestibule.
Chief investigator is headmistress nun Meryl Streep (up for best actress) who cuts a terrifying figure of authority, channelling her Devil Wears Prada performance into something harsher yet warmer at the same time. Her character delivers the majority of the laughs, her crushing bluntness and devout determination to prove she is right being the central spike to the tale. It’s a perfect role for her to play, but she doesn’t completely steal the limelight. Ever brilliant Philip Seymour Hoffman (up for best actor) plays the priest in the spotlight, superbly mixing creepy (he definitely did it…) with sympathetic distress (he definitely didn’t do it…) The myriad of emotions crossing his large face could indicate any of the two outcomes, and you’ll have as much fun as Streep’s character in trying to decide if he’s telling the truth. Well, as much fun as you can have in investigating such dodgy things.
Taking up the supporting reigns is angel-faced Amy Adams (up for best supporting actress) whose naivety is beautiful, particularly when it cracks, and Viola Davis (also up for best supporting) playing the boy in question’s mother, and probably displaying the best bit of acting snot I have ever seen.
Though adapted from the stage, Doubt sidesteps the usual pitfalls (no one is trying to project across the stalls) but original playwright John Patrick Shanley (nommed for best screenplay) steps up to adapt and direct and perhaps takes some of his stage techniques a little too far. The inclusion of visual analogies is at times so blatant he may as well have had a character carry a load of heavy bags, then exclaim “oh woe is me, I have so much emotional baggage”. The crazy weather and unreliable light bulbs cut into the drama just a little too much, detracting from the already formidable subject matter which is filled with enough subtext to not need any more slathered on the screen.
Still, quibbles aside this was a fully enjoyable film, with superb performances and a simple yet completely effective plot. Points for mashing entertainment with potent drama, and extra points for letting me watch Streep and Hoffman size each other up. Doubt slinks in with a CF2, the first of the year. And check it out – I didn’t even make one single doubt-related pun. But I did mention a child’s holy vestibule. I’m not sure which is worse.
Wednesday, February 18, 2009
11th Feb 09 - Revolutionary Road
Ah the joys of relationships. The flutter of the heart at the early meetings. The gentle expansion of feelings. The rosey complexion that comes from spending time with the one you love. And the slow decline into seething anger and resentment that makes you not only hate your partner with a fiery passion, but hate yourself and your entire life too.
That’s the picture Revolutionary Road paints for you. As Slumdog has been advertised as a “feel-good hit”, Rev Road could surely be summarised as a “kill-yourself punch”. It is essentially two hours watching people argue, and if you think it’s only the one dysfunctional couple in trouble, there are a few other examples of how miserable your life can become - either through forced and pained ignorance or bitter acceptance.
Of course there’s a little more to it than that. Titanic sweethearts Kate Winslet and Leonardo DiCaprio return to the screen together, perhaps showing what might have happened if she didn’t selfishly use all the door for a raft and they’d have been given the chance to be together. They play the feisty Wheelers, a couple who always planned not to get stuck in the family rut and mocked those that did, until several years down the line they realised they were rutted just as much as the next guy. Might I point out that their “rut” involves a nice house, nice neighbourhood, and two “nice” children (nice in the sense that they’re literally never around – seriously, where are their children?!) So this terrible woe they feel and bicker over is purely self indulgent. Boo hoo I’m in a nice house. Boo hoo we have reproduced and can afford to look after them. Boo bloody hoo.
You can sense the reasoning behind some of it, though. Life is, after-all, utterly depressing if you think about it too much. It’s the reason why things like money, houses and children are fairly useful – they’re things to strive for and distract from the thought that life is slowly ticking by. Unfortunately for the Wheelers, the penny has dropped that “this is it” and it has resulted in their relationship imploding. Watching the devastation that follows is both uncomfortable and hilarious, Kate and Leo throwing themselves into the slanging matches with gusto. Being an Oscar aimer, there’s lots and lots of Acting, particularly from Kate who sometimes takes a moment just to stare out the window and have a good ol’ Act for a while, before continuing on. Director Sam Mendes’ static approach makes it feel like you’re watching a play at times, which does work on some aspects (letting the explosive arguments speak for themselves) but creates a starched tone in others, distancing you from the characters.
Though the fire between the two leads is engrossing at times, there are a few niggles with this film. The plot is bone-dry, probably left that way to let lots of Acting in and comments on attitudes towards life etc, but with no real depth given to any of the characters it chunders along and leaves you with a bit of a “so what?” feel (if you can push aside the great feeling of despair it conjures). There is also a ridiculous character – just out of a mental hospital, and therefore happy to speak his mind - shoe-horned in to let the simpler audience members know what’s really going on in our leads minds. And the endless score, seemingly composed of only three piano notes, does start to grate after a while.
Still, superb performances mean it’s often riveting, if not dramatic, and will carry you towards the end with a building sense of dread at what’s to come. But how to score this has posed a problem – though it was finely acted, it’s difficult to recommend a “kill-yourself punch” to someone. Therefore it hits the “good film” jackpot of a CF0, but doesn’t gain any further points as I wouldn’t enthusiastically recommend it to anyone, unless I know someone who wants to mock people in relationships.
Wednesday, February 11, 2009
4th Feb 09 - Frost/Nixon
It’s sometimes difficult to believe that journalism can be used for anything except pointing out the weight of semi-famous people or making us all panic about how much the public / environment / economy is in trouble and it’s all because of youths / the government / immigrants. But among all the shite, journalism (like this) can have a positive impact on the world, or make some sort of change. And so it can be seen when David Frost, flailing TV host watching his career trickle downhill after a flourish of success, unearthed an apology from Richard Nixon, a jowly president with unusual ideas about the law.
It’s an odd choice to make a film about a TV show that has already been aired, where the seminal moment of success has already been filmed and broadcast and relished. You can’t just replicate what’s already been on TV – why watch someone pretend to do an interview when you can watch the real thing? So Frost/Nixon, based on a play by Peter Morgan who also writes this screenplay, instead takes a look behind the scenes, charting the David/Goliath task ahead and attempting to get into each player’s mindset.
Michael Sheen and Frank Langella do superb jobs at embodying their counterparts, Sheen catching the determination and charm in the face of failure, and Langella mixing sparkling intelligence with crumbling defences. Of course, what the hell would I know – I wasn’t alive when these two went head-to-head. Still, it made for some great cinema, director Ron Howard choosing an almost documentary feel with the solid supporting cast (including the sturdy Sam Rockwell and Kevin Bacon) providing background interviews to set the scene, and in some cases explain what was going on. He also thankfully sidesteps the usual pitfall of stage-to-screen, injecting movement into the piece without losing the crackling dialogue.
You could almost hear Eye of the Tiger rumbling in the background as these two chaps came face to face, the ding-ding of the tape-change allowing their coaches time to pep-talk, and as with all sporting films there’s a training montage, then the baddie pummels the goodie, right up until the last minute epiphany that saves the day.
And yet… we all knew what was coming. Frost gets Nixon to admit everything on air – no spoiler there, it’s fact. And though Sheen does cut an impressive figure as the rogue Frost, how he makes a switch from slightly delusional talkshow host to suddenly getting one over the superiorly intelligent Nixon is barely dealt with, save a wedged in monologue from Nixon and a quick montage of people going to the library. Nixon himself, surely responsible for tremendous death and deception, is elevated to Boris status as a bumbling comic, cracking some of the more amusing lines of the film. Ha ha – he’s racist! And was in charge of America! Really funny.
So though it hooks you with some great performances and a premise that is fascinating and true, Frost/Nixon peters out when we reach the conclusion we already knew with no deep exploration into character, or flourishing finale to cap things off. It could almost be a BBC Saturday drama. One of those good ones, mind – the one-offs, or the three-parters. But a TV drama none-the-less, which is what it all started out as anyway. For its meaty drama Frost/Nixon gains an extra point, but for not really telling us anything we didn’t already know (even us yoofs who weren’t even alive then) it fails to go any higher than a CF1.
It’s an odd choice to make a film about a TV show that has already been aired, where the seminal moment of success has already been filmed and broadcast and relished. You can’t just replicate what’s already been on TV – why watch someone pretend to do an interview when you can watch the real thing? So Frost/Nixon, based on a play by Peter Morgan who also writes this screenplay, instead takes a look behind the scenes, charting the David/Goliath task ahead and attempting to get into each player’s mindset.
Michael Sheen and Frank Langella do superb jobs at embodying their counterparts, Sheen catching the determination and charm in the face of failure, and Langella mixing sparkling intelligence with crumbling defences. Of course, what the hell would I know – I wasn’t alive when these two went head-to-head. Still, it made for some great cinema, director Ron Howard choosing an almost documentary feel with the solid supporting cast (including the sturdy Sam Rockwell and Kevin Bacon) providing background interviews to set the scene, and in some cases explain what was going on. He also thankfully sidesteps the usual pitfall of stage-to-screen, injecting movement into the piece without losing the crackling dialogue.
You could almost hear Eye of the Tiger rumbling in the background as these two chaps came face to face, the ding-ding of the tape-change allowing their coaches time to pep-talk, and as with all sporting films there’s a training montage, then the baddie pummels the goodie, right up until the last minute epiphany that saves the day.
And yet… we all knew what was coming. Frost gets Nixon to admit everything on air – no spoiler there, it’s fact. And though Sheen does cut an impressive figure as the rogue Frost, how he makes a switch from slightly delusional talkshow host to suddenly getting one over the superiorly intelligent Nixon is barely dealt with, save a wedged in monologue from Nixon and a quick montage of people going to the library. Nixon himself, surely responsible for tremendous death and deception, is elevated to Boris status as a bumbling comic, cracking some of the more amusing lines of the film. Ha ha – he’s racist! And was in charge of America! Really funny.
So though it hooks you with some great performances and a premise that is fascinating and true, Frost/Nixon peters out when we reach the conclusion we already knew with no deep exploration into character, or flourishing finale to cap things off. It could almost be a BBC Saturday drama. One of those good ones, mind – the one-offs, or the three-parters. But a TV drama none-the-less, which is what it all started out as anyway. For its meaty drama Frost/Nixon gains an extra point, but for not really telling us anything we didn’t already know (even us yoofs who weren’t even alive then) it fails to go any higher than a CF1.
Thursday, January 29, 2009
28th Jan 09 - Rachel Getting Married
Another wedding film staring Anne Hathaway? Is this the same as last week? Does a robot-faced blonde show up to try and scupper lovely Anne’s wedding plans with hilarious japes and photo montages? I think not. In fact, our lovely Anne isn’t even dressing up as a princess. This time she is Acting. That’s right. She smokes cigarettes and has bad hair and cries. A lot. If she filmed Bride Wars after this then it explains a lot – Bride Wars must have been a relaxing break after staring in this one.
Hathaway plays Kym, a recovering drug addict released from rehab to attend her big sister’s wedding (that’d be Rachel). Before you can say “dysfunctional” the family arguments kick off big-style, as details of Kym’s turbulent and tragic past unfold and her rollercoaster moods ricochet off her sister’s temper. Director Jonathan Demme (Silence of the Lambs, Philadelphia) goes for a documentary approach, following characters around with hand-held cameras and allowing actors to talk over each other, giving it a very natural feel.
The actors excel in this realistic setting, Hathaway rightly Oscar nominated for her performance as the troubled, bratty and grieving Kym, while her co-stars (particularly Rosemarie DeWitt as Rachel) provide a blanket of emotion, either through jealous sister, mental father or withdrawn mother. When the drama crackles, it really crackles, with fierce battles erupting in between barbed comments and pained glances.
Unfortunately it all becomes a little too realistic. If you’ve ever been forced to watch someone’s wedding video you’ll know the tedium of the endless speeches, or the banality of watching other people enjoying the evening entertainment. For some reason, Demme decided that to add authenticity we should literally observe Rachel getting married, in all its uncut, unnecessary glory. And so we have a third of this film being an absorbing, well acted family drama. And two thirds someone’s poorly shot wedding video, before the editor has got to it.
Ultimately, despite the fancy pants way this film is put across, the plot is too thin. Drug addicts, family feuds, weddings… all seem a bit too familiar, and the flowery ending prompts the question “and the point was…?” It does get points for creating a sense of friendship and warmth, and for the first and only funny dishwasher loading scene, but overall it is one of those films where style takes over from substance and the film tucks itself up its own bottom too far to notice the plot slipping out the back of the trousers. So to speak. It’s proven Hathaway can move away from the Bride Wars slop, but let’s hope she can pick something with a little more weight behind it next time. Rachel gets married, but does so with a CF-1. Sorry to spoil her big day.
Hathaway plays Kym, a recovering drug addict released from rehab to attend her big sister’s wedding (that’d be Rachel). Before you can say “dysfunctional” the family arguments kick off big-style, as details of Kym’s turbulent and tragic past unfold and her rollercoaster moods ricochet off her sister’s temper. Director Jonathan Demme (Silence of the Lambs, Philadelphia) goes for a documentary approach, following characters around with hand-held cameras and allowing actors to talk over each other, giving it a very natural feel.
The actors excel in this realistic setting, Hathaway rightly Oscar nominated for her performance as the troubled, bratty and grieving Kym, while her co-stars (particularly Rosemarie DeWitt as Rachel) provide a blanket of emotion, either through jealous sister, mental father or withdrawn mother. When the drama crackles, it really crackles, with fierce battles erupting in between barbed comments and pained glances.
Unfortunately it all becomes a little too realistic. If you’ve ever been forced to watch someone’s wedding video you’ll know the tedium of the endless speeches, or the banality of watching other people enjoying the evening entertainment. For some reason, Demme decided that to add authenticity we should literally observe Rachel getting married, in all its uncut, unnecessary glory. And so we have a third of this film being an absorbing, well acted family drama. And two thirds someone’s poorly shot wedding video, before the editor has got to it.
Ultimately, despite the fancy pants way this film is put across, the plot is too thin. Drug addicts, family feuds, weddings… all seem a bit too familiar, and the flowery ending prompts the question “and the point was…?” It does get points for creating a sense of friendship and warmth, and for the first and only funny dishwasher loading scene, but overall it is one of those films where style takes over from substance and the film tucks itself up its own bottom too far to notice the plot slipping out the back of the trousers. So to speak. It’s proven Hathaway can move away from the Bride Wars slop, but let’s hope she can pick something with a little more weight behind it next time. Rachel gets married, but does so with a CF-1. Sorry to spoil her big day.
24th Jan 09 - Role Models
In the rules of watching comedy, it’s always best to stick to the mantra “never watch comedies featuring children or animals”. Chances are they’ll be annoying, either with a gang of kerrrrazee kids causing havoc for some befuddled adult, or a doggy doing kerrrrazee things like humping legs or pulling people off chairs by running away. Hilarious! If you’re seven years old. And stupid.
Role Models does feature children, but easily side steps the usual child-comedy pitfalls by having its children say stuff like “fuck you”. Neat! It’s co-written by Paul Rudd, the sardonic best friend as seen in Knocked Up, 40 Year Old Virgin, Anchorman and, um, Romeo & Juliet. His incredibly dry humour litters the script, with quips laid out so quickly and flatly they’re often easy to miss. Mixed with naughty toilet humour it makes the majority of Role Models into a deliciously dirty comedy, more so when it features lots of kiddy winks.
Bad boys Danny (Rudd) and Wheeler (a nicely buff Seann William Scott) are forced to carry out community service, being “best friends” for some pretty weird children. There’s Augie, a bespectacled fantasy obsessed teen played by Christopher “McLovin” Mintz-Plasse who is now cemented as the go-to for your general nerdy needs. And Ronnie (Bobb’e J. Thompson – yes, that’s a deliberate hyphen in the middle of Bobbe. He must be pretentious), a foul-mouthed, boobies obsessed young ‘un, who frankly steals the show but could also be verging on a horrendous ethnic stereotype.
There’s a great supporting cast, particularly Jane Lynch as the insane child centre leader, granted playing a character she’s played many times before, but hell she plays it bloody well. There are also some amusing set pieces, such as the camping trip, and Paul Rudd’s bleak take on life always raises a smirk (“It's not that I don't like you, I just don't like to eat with other people”). But – and I’m sure you could detect a ‘but’ coming here – Role Models starts off strong and then suddenly twists into something, well, a bit weak. From dirty adult humour to suddenly a sports-movie-esque quest, with a swift focus on Augie’s role playing battle club type thing. Everyone comes together to help defeat the evil “king” in a big, mock battle scene and… hang on. Weren’t we watching a good comedy on two guys, one a women-obsessed lads lad, and one a dishevelled 30-something depressed at life? Weren’t we laughing at how much they didn’t really care, and how twisted their approach was to looking after two kids? Since when did we care about a fantasy role-playing battle? Since when did it turn into a mushy romance?
Alas, its decline into mediocre battle / romance slosh dampens the comic edge and catapults any real character arc into blando “ooo I do love my woman really” or “um… I haven’t changed at all and was just here for the ruder bits”. Add a couple of unnecessary boob shots and you’ve tainted it with teen boy humour ala “Sex Drive” rather than the suggested quality comedy stock expected from Rudd. As such, Role Models does raise a fair few titters, but by featuring some real life titties and having a plot that goes tits-up it slumps down to a CF0, clinging to a recommendation because it’s a fun Saturday night filler, but failing to raise enough of a chortle to be a great comedy.
Sunday, January 25, 2009
21st Jan 09 - Bride Wars
There is a reason why I chose to see this film. I’m not going to go into it, but basically I needed a short film that would take my mind off things without wearing me out mentally. So, in theory, this was the perfect choice. On a normal day this would be a bad choice. Very bad. It has everything I generally dislike: People fawning over weddings claiming they’re the “happiest day in your life”, which is a bold and slightly alarming claim – you mean the ensuing fifty years or so are not going to be as good as today? Nothing will beat sitting in a hot room on small chairs with an Abba mega-mix playing? I may as well kill myself now.
It also has weird photo montages coupled with sage narrative. A plot so thinly constructed a five-year-old could predict what was going to happen (well, maybe not just any five-year-old, but perhaps myself at five, although I was unnaturally clever at that age of course). And it’s set in New frickin’ York. On ordinary days I would have avoided this like Primark on a Saturday afternoon. But I was after something light, and Bride Wars definitely fit the bill without causing too much offence or vomit. I even laughed once, possibly twice, and smiled for at least 50% of the film. A winner!
Well. The leads appear to have a bit of fun with this, but without a huge heap of effort, Hathaway (avoiding my hatred list by being a year older and not smug) winning in the human stakes – that is, being the most sympathetic and also being capable of making actual facial expressions – while Hudson glowers around in the background and raises an eyebrow when describing herself as having put on weight when, quite clearly, she isn’t able to open her mouth wide enough to eat anyway.
The cat fights are fairly fun, but we’ve seen more zing in the few girl spats on episodes of Friends, and the wedding comedy is forever overshadowed by the as yet unbeatable Wedding Singer. As such, nothing particularly shines, the film instead passing by like the consumption of a Milky Way; a not unpleasant but wholly unremarkable sugar injection. No recommendation here, but no real anger either, so a slide into CF-1.
It also has weird photo montages coupled with sage narrative. A plot so thinly constructed a five-year-old could predict what was going to happen (well, maybe not just any five-year-old, but perhaps myself at five, although I was unnaturally clever at that age of course). And it’s set in New frickin’ York. On ordinary days I would have avoided this like Primark on a Saturday afternoon. But I was after something light, and Bride Wars definitely fit the bill without causing too much offence or vomit. I even laughed once, possibly twice, and smiled for at least 50% of the film. A winner!
Well. The leads appear to have a bit of fun with this, but without a huge heap of effort, Hathaway (avoiding my hatred list by being a year older and not smug) winning in the human stakes – that is, being the most sympathetic and also being capable of making actual facial expressions – while Hudson glowers around in the background and raises an eyebrow when describing herself as having put on weight when, quite clearly, she isn’t able to open her mouth wide enough to eat anyway.
The cat fights are fairly fun, but we’ve seen more zing in the few girl spats on episodes of Friends, and the wedding comedy is forever overshadowed by the as yet unbeatable Wedding Singer. As such, nothing particularly shines, the film instead passing by like the consumption of a Milky Way; a not unpleasant but wholly unremarkable sugar injection. No recommendation here, but no real anger either, so a slide into CF-1.
Thursday, January 22, 2009
14th Jan 09 - Slumdog Millionaire
Dubbed “the feel good hit of the decade”, Slumdog has been gathering awards and nominations like a squirrel in a nut factory, and caused a stampede of easily swayed pundits to go and see it, expecting a nice, feel good piece on an Indian kid winning Who Wants to be a Millionaire. According to the posters he punches the air in excitement and a woman in yellow falls in love with him, and everyone goes away happy and elated. Feel good!
Slumdog opens with some light torture before moving on to abject poverty, senseless and brutal death, and child exploitation and mutilation. Feel good! It uses the Millionaire questions as a clever way of tracking back through slumdog Jamal’s life, perhaps suggesting that missing an education on a variety of abstract topics does not make you an idiot – life is your education. Nice thought. But Slumdog moves away from that when it’s clear why Jamal went on the programme in the first place, resulting in an overly schmaltzy ending that’s more corny than feel good.
But Danny Boyle’s hyperactive direction mixed with a thumping soundtrack carries you along for most of the film, and you will care what happens to Jamal (a coolly collected Dev Patel) and his older brother (looking weirdly like Michael Jackson in his Thriller days). The story grips mainly during the flashback scenes, following Jamal’s torturous childhood, and it’s only when the past catches up with the present that the foot comes off the accelerator a little, and we are steered towards cheese land.
Still, it’s a nice blend of the Bollywood with the Boyle, whose diversity is impressive given his last film was a claustrophobic horror in space. Perhaps not quite as monumental as the hype machine would have you believe, and very poorly marketed as some feelgood brit-flick (it’s much deeper than that tag would suggest) Slumdog is punchy, original and emotive, slamming you from poo jokes to murder as swiftly as the questions change on Millionaire.
It notches up an extra point for its colourful exuberance but doesn’t really climb any higher for that whiff of cheese, so slumming in neatly with a CF1. Probably the Juno of this Oscar year. Without the pregnancy. Or the strong female character. Or… oh you know what I mean, though.
Slumdog opens with some light torture before moving on to abject poverty, senseless and brutal death, and child exploitation and mutilation. Feel good! It uses the Millionaire questions as a clever way of tracking back through slumdog Jamal’s life, perhaps suggesting that missing an education on a variety of abstract topics does not make you an idiot – life is your education. Nice thought. But Slumdog moves away from that when it’s clear why Jamal went on the programme in the first place, resulting in an overly schmaltzy ending that’s more corny than feel good.
But Danny Boyle’s hyperactive direction mixed with a thumping soundtrack carries you along for most of the film, and you will care what happens to Jamal (a coolly collected Dev Patel) and his older brother (looking weirdly like Michael Jackson in his Thriller days). The story grips mainly during the flashback scenes, following Jamal’s torturous childhood, and it’s only when the past catches up with the present that the foot comes off the accelerator a little, and we are steered towards cheese land.
Still, it’s a nice blend of the Bollywood with the Boyle, whose diversity is impressive given his last film was a claustrophobic horror in space. Perhaps not quite as monumental as the hype machine would have you believe, and very poorly marketed as some feelgood brit-flick (it’s much deeper than that tag would suggest) Slumdog is punchy, original and emotive, slamming you from poo jokes to murder as swiftly as the questions change on Millionaire.
It notches up an extra point for its colourful exuberance but doesn’t really climb any higher for that whiff of cheese, so slumming in neatly with a CF1. Probably the Juno of this Oscar year. Without the pregnancy. Or the strong female character. Or… oh you know what I mean, though.
Tuesday, January 13, 2009
7th Jan 09 - Changeling
A new year and back to the familiar tone of January and February films in the run up to Oscar season. I.e., long and with lots of “acting”. Changeling was out last year of course, but because all films seem to be half a day long right now, this one won the viewing war by being on at the most convenient time. Yes, I am THAT professional.
So, Mr Eastwood is back behind the camera to direct another leading lady to potential Oscar stardom, replacing Swank with Jolie and boxing for, err, motherhood. He takes the true story of a mother’s fight against the utterly corrupt LAPD back in the 20s, who were so keen to hide their mistakes that they refused to believe they had returned the wrong missing son, despite his mother’s insistence, and instead had her shut away in a mental hospital. Bloody hell! Their attitudes and actions are flabbergasting, prompting amazed laughter in places, which given the subject matter (missing, and most likely, deceased child) is probably a bit in bad taste. Sorry.
Angelina wallops in her performance, showing the distress, confusion and sheer grief that her real-life counter part must have felt. It is, however, a little off-putting that she resembles Skeleton Jack from Nightmare Before Christmas, her willowy frame increasing her vulnerability but unusually large lips and eyes making her a bit frightening too. Much of the time she screams “I want my son”, or “he’s not my son”, and the rest she stares wide-eyed, lips slightly parted in a forlorn pout and a bit of acting-snot glistening in her nostrils. But hell, she does a stirling job and must surely get a nomination at the very least.
The first couple of hours of this film were surprisingly very good (I’m not a massive fan of Eastwood). Gripping, emotional, shocking and nicely paced, the film builds to an almost devastating finale, reigning in the CF points… and then it carries on. For another 40 minutes. The points that could have been summed up in a montage or even those little bits of blurb at the end are shown in full, unnecessary detail, dampening the power of the film and making you wonder when on earth the story will finish. It’s such a shame, because the film seems to naturally build up brilliantly, only to level off and peter out. That’s not to say it doesn’t peter out with a bit of a tear in the eye, but it means a film that could have been “great” becomes a film that is “pretty good”.
Still, for Jolie’s presence and the power of a shocking and compelling true story, Changeling is a fine film and a good way to start the year. It lost points for a lack of control towards the end, and as such comes in at a neat CF1. OK Oscar fodder – what else you got?
So, Mr Eastwood is back behind the camera to direct another leading lady to potential Oscar stardom, replacing Swank with Jolie and boxing for, err, motherhood. He takes the true story of a mother’s fight against the utterly corrupt LAPD back in the 20s, who were so keen to hide their mistakes that they refused to believe they had returned the wrong missing son, despite his mother’s insistence, and instead had her shut away in a mental hospital. Bloody hell! Their attitudes and actions are flabbergasting, prompting amazed laughter in places, which given the subject matter (missing, and most likely, deceased child) is probably a bit in bad taste. Sorry.
Angelina wallops in her performance, showing the distress, confusion and sheer grief that her real-life counter part must have felt. It is, however, a little off-putting that she resembles Skeleton Jack from Nightmare Before Christmas, her willowy frame increasing her vulnerability but unusually large lips and eyes making her a bit frightening too. Much of the time she screams “I want my son”, or “he’s not my son”, and the rest she stares wide-eyed, lips slightly parted in a forlorn pout and a bit of acting-snot glistening in her nostrils. But hell, she does a stirling job and must surely get a nomination at the very least.
The first couple of hours of this film were surprisingly very good (I’m not a massive fan of Eastwood). Gripping, emotional, shocking and nicely paced, the film builds to an almost devastating finale, reigning in the CF points… and then it carries on. For another 40 minutes. The points that could have been summed up in a montage or even those little bits of blurb at the end are shown in full, unnecessary detail, dampening the power of the film and making you wonder when on earth the story will finish. It’s such a shame, because the film seems to naturally build up brilliantly, only to level off and peter out. That’s not to say it doesn’t peter out with a bit of a tear in the eye, but it means a film that could have been “great” becomes a film that is “pretty good”.
Still, for Jolie’s presence and the power of a shocking and compelling true story, Changeling is a fine film and a good way to start the year. It lost points for a lack of control towards the end, and as such comes in at a neat CF1. OK Oscar fodder – what else you got?
Thursday, January 01, 2009
The Cinemafool Review of 2008
Who can believe another year has gone by? It seems like only a year ago I was writing the review of 2007, and here I am again looking back over the year and creating the much anticipated top 10, as well as the educational “turkeys”, which should hopefully steer you clear of the cowpats along the way.
Looking back it’s been a belter of a year, throwing out some spectacular films (particularly in the months of February and July it seems) and proving Cinemafool’s dedication by beating last year’s record with 45 new films seen at the cinema. Because you have short attention spans, I will waste no further time and get straight into the first section: what all films aspire to reach, the Cinemafool top 10 of 2008, presented to you in chronological order:
The Top 10 of 2008
12th Jan 08 - Lust, Caution
Rating: CF3
What: Ang Lee’s foray into 1940s Chinese spy drama… with plenty of , errr, “tucking.”
I said then: Gripping plot, scintillating character interaction and an unusual blend of, well, lust and caution.
I say now: Cruelly ignored by the Oscars when this ticked all the boxes – fabulous acting, period setting, beautiful relationship development. Perhaps the porn-eqsue sex throughout may have put the Oscar crew off, though…
I also said: I couldn’t help but notice the audience for this film was made up of an interesting number of boys in their late teens
6th Feb 08 - No Country for Old Men
Rating: CF3
What: The Coen brothers trot in with a meaty award-laden film full of violence and a hunt for that good ol’ bag of money.
I said then: Powerful, thrilling and chock full of memorable performances.
I say now: Rewards further on a second viewing and now sitting in the Cinemafool DVD collection, No Country is the Coens on full form, even though I still haven’t been able to pay attention to that closing speech.
I also said: I’ve just mixed a landscape analogy with a pie analogy
15th Feb 08 - Cloverfield
Rating: CF2
What: Big monster attacks New York (for a change) but this time they’ve given one of the running, screaming extras a camcorder.
I said then: Chaotic, dazzling and down-right frightening…an exciting B-movie done in an entirely new angle.
I say now: The Blair-Witch style cameras have been done to death the rest of this year, but Cloverfield was at the forefront, and this is still a little nugget of shaky terror worth catching.
I also said: You could only get motion sickness if you felt queasy with simple things like rollercoasters, banana flavoured beer, or just generally moving around.
20th Feb 08 - The Diving Bell and the Butterfly
Rating: CF3
What: Real life tale of magazine editor suffering stroke, resulting in only being able to move one eyelid. In French! All the hallmarks of something depressing and a bit rah. But…
I said then: This film is both uplifting and upsetting, beautifully shot and acted, altogether emotionally gratifying.
I say now: Not half as rah or depressing as it sounds, this was one of the most moving films of the year and also one of the most creatively shot. Don’t be put off – this should be a definite on your film lists.
I also said: I’ve just bought myself a coffee percolator. It makes noises like Darth Vader underwater and has made me a tad hyper.
23rd Feb 08 - There Will Be Blood
Rating: CF3
What: P. T. Anderson’s whopper about an oil man, with Oscar winning performance from Day Lewis.
I said then: A fascinating character study and an epic tale of greed… you can easily get lost in the depths of this film, with its substantial running time, measured pace and unknown plot directions.
I say now: Cor blimey this is a good film. You have to set aside an entire evening to truly appreciate, but, well, cor blimey this is good.
I also said: I’d even stoop to watching him in a period drama with Knightley, as long as he spent the majority of the film talking in a thick accent about how rubbish she is.
9th April 08 - The Orphanage
Rating: CF2
What: Spanish horror set in a haunted orphanage… mummy!
I said then: Chills with an emotional core... Don your best pair of brown trousers and go watch.
I say now: One of the scariest flicks of the year that still retains a sense of dignity and, well, plot, The Orphanage is one to watch but not with young children who might walk into the room. With pillow cases over their heads.
I also said: Scary enough to make me turn on every light in my house that evening
16th July 08 – The Mist
Rating: CF2
What: Frank Darabont’s done Shawshank, he’s done Green Mile – now it’s time for gloomy monster carnage. Of course…
I said then: Richly satisfying drama meets horror. Oh, and it’s fucking depressing.
I say now: Angry Darabont encapsulates everything Stephen King’s original story had to say about mankind, and throws a bit more welly in to boot. Dark, absorbing, and mighty considering it’s essentially “monsters in the mist”.
I also said: Come out of The Mist and you’ll probably want to sit in your bedroom and poke yourself in the eye in despair.
23rd July 08 - Wall-E
Rating: CF3
What: It’s a garbage-collecting robot and his cockroach companion on a desolate planet. What could be better!
I said then: Refreshing, original, beautifully animated and superbly plotted.
I say now: Pixar shows everyone how it’s done with a heart-warming tale and the most endearing robots ever created.
I also said: Its message is as blunt as a donkey punch
30th July 08 - The Dark Knight
Rating: CF3
What: Nolan and Bale return with the man of bat and a media storm following a career-defining performance mixed with upsetting career-ending circumstances.
I said then: Nolan weaves an impressive tale, with plenty of stonking action, suspenseful lead-ups, dramatic interchanges bristling with danger, and the occasional flash of humour.
I say now: Let’s face it, this has set the bar for superhero flicks. It’ll be interesting to see how the hotly anticipated Watchmen fares against it this year.
I also said: A clown that wants to slice your cheeks and ram a pencil in your face. Come on kids, it’s fun!
14th Sep 08 - Burn After Reading
Rating: CF2
What: The Coens are back again with a spy comedy and a host of their favourite faces.
I said then: Funny, fascinating and fully digestible on first-viewing.
I say now: Double whammy for the Coens, offering up a sizeable main course with No Country, and following up with this sharp and sassy dessert.
I also said: I’m still smug in New York. Check me out. Smug.
2008: The Losers
Not too many stinkers this year, but just a couple I have to mention before the big turkey:
2nd Jan 08 - I'm Not There
Rating: CF-1
I said: "This film is the equivalent of someone taking all the ingredients necessary to make the best cake in the world, putting them in a big bowl, mixing them all together, but then by-passing the oven that will unite them into a cohesive sponge and instead using the mixture to write a big, obscure Bob Dylan quote all over the wall."
3rd Sep 08 - Babylon A.D
Rating: CF-3
I said: “Bloody hell.”
“My only guess is the film makers assume their target audience has stopped paying attention by this point.”
“It was shit. A big steaming shit. Lazily created to sit on our screens for a while before slowly sliding off into the trough of shit films that end up on 3-for-2 offers.”
31st Dec 08 - The Day the Earth Stood Still
Rating: CF-3
I said: "Watch the trailer for the cool stadium shot, then just look at a powerpoint slide with the phrase “save the Earth – recycle” and you’ll have the same effect, only more enjoyable."
The Turkey of 2008
Despite the lowest mark being awarded to Babylon Zoo – sorry, “A.D” - the mantle of turkey of the year has to go to another film. One that was highly anticipated but ultimately annoyed, befuddled and confused. I’m talking, of course, about:
25th May 08 - Indiana Jones and the Kingdom of the Crystal Skull
Rating: CF-2
I said: “Three words: What. The. Fuck.”
“A never-ending car chase interspersed with everything and anything that could exist in the real world (or not).”
“Brings nothing new to the table except a lump of crusty bread that we’ve already seen before, only now it looks like it’s picked up every bit of fluff off the floor and some space dust along with it.”
“No more sherbet, Lucas. Your mother knows what she’s talking about.”
End on a high
Because I don’t want to leave the year with the bitter taste of insane Lucas in my mouth, let’s throw a few special mentions out. 2008 was the year of films that looked rubbish but turned out to be pretty good. Iron Man and Hulk gave a tantalising view of what’s to come from the new Marvel studio, In Bruges demonstrated Colin Farrell’s immense eyebrow acting abilities, Lars and the Real Girl gave soft smiles, Rambo shrieks of unintentional laughter, and Transporter 3 proved there was a reason for living.
There are some exciting films on the horizon for the new year, and an ever challenging new record to beat (45 is the target for 09). Who knows what’s in store. Shall we go and see…?
Looking back it’s been a belter of a year, throwing out some spectacular films (particularly in the months of February and July it seems) and proving Cinemafool’s dedication by beating last year’s record with 45 new films seen at the cinema. Because you have short attention spans, I will waste no further time and get straight into the first section: what all films aspire to reach, the Cinemafool top 10 of 2008, presented to you in chronological order:
The Top 10 of 2008
12th Jan 08 - Lust, Caution
Rating: CF3
What: Ang Lee’s foray into 1940s Chinese spy drama… with plenty of , errr, “tucking.”
I said then: Gripping plot, scintillating character interaction and an unusual blend of, well, lust and caution.
I say now: Cruelly ignored by the Oscars when this ticked all the boxes – fabulous acting, period setting, beautiful relationship development. Perhaps the porn-eqsue sex throughout may have put the Oscar crew off, though…
I also said: I couldn’t help but notice the audience for this film was made up of an interesting number of boys in their late teens
6th Feb 08 - No Country for Old Men
Rating: CF3
What: The Coen brothers trot in with a meaty award-laden film full of violence and a hunt for that good ol’ bag of money.
I said then: Powerful, thrilling and chock full of memorable performances.
I say now: Rewards further on a second viewing and now sitting in the Cinemafool DVD collection, No Country is the Coens on full form, even though I still haven’t been able to pay attention to that closing speech.
I also said: I’ve just mixed a landscape analogy with a pie analogy
15th Feb 08 - Cloverfield
Rating: CF2
What: Big monster attacks New York (for a change) but this time they’ve given one of the running, screaming extras a camcorder.
I said then: Chaotic, dazzling and down-right frightening…an exciting B-movie done in an entirely new angle.
I say now: The Blair-Witch style cameras have been done to death the rest of this year, but Cloverfield was at the forefront, and this is still a little nugget of shaky terror worth catching.
I also said: You could only get motion sickness if you felt queasy with simple things like rollercoasters, banana flavoured beer, or just generally moving around.
20th Feb 08 - The Diving Bell and the Butterfly
Rating: CF3
What: Real life tale of magazine editor suffering stroke, resulting in only being able to move one eyelid. In French! All the hallmarks of something depressing and a bit rah. But…
I said then: This film is both uplifting and upsetting, beautifully shot and acted, altogether emotionally gratifying.
I say now: Not half as rah or depressing as it sounds, this was one of the most moving films of the year and also one of the most creatively shot. Don’t be put off – this should be a definite on your film lists.
I also said: I’ve just bought myself a coffee percolator. It makes noises like Darth Vader underwater and has made me a tad hyper.
23rd Feb 08 - There Will Be Blood
Rating: CF3
What: P. T. Anderson’s whopper about an oil man, with Oscar winning performance from Day Lewis.
I said then: A fascinating character study and an epic tale of greed… you can easily get lost in the depths of this film, with its substantial running time, measured pace and unknown plot directions.
I say now: Cor blimey this is a good film. You have to set aside an entire evening to truly appreciate, but, well, cor blimey this is good.
I also said: I’d even stoop to watching him in a period drama with Knightley, as long as he spent the majority of the film talking in a thick accent about how rubbish she is.
9th April 08 - The Orphanage
Rating: CF2
What: Spanish horror set in a haunted orphanage… mummy!
I said then: Chills with an emotional core... Don your best pair of brown trousers and go watch.
I say now: One of the scariest flicks of the year that still retains a sense of dignity and, well, plot, The Orphanage is one to watch but not with young children who might walk into the room. With pillow cases over their heads.
I also said: Scary enough to make me turn on every light in my house that evening
16th July 08 – The Mist
Rating: CF2
What: Frank Darabont’s done Shawshank, he’s done Green Mile – now it’s time for gloomy monster carnage. Of course…
I said then: Richly satisfying drama meets horror. Oh, and it’s fucking depressing.
I say now: Angry Darabont encapsulates everything Stephen King’s original story had to say about mankind, and throws a bit more welly in to boot. Dark, absorbing, and mighty considering it’s essentially “monsters in the mist”.
I also said: Come out of The Mist and you’ll probably want to sit in your bedroom and poke yourself in the eye in despair.
23rd July 08 - Wall-E
Rating: CF3
What: It’s a garbage-collecting robot and his cockroach companion on a desolate planet. What could be better!
I said then: Refreshing, original, beautifully animated and superbly plotted.
I say now: Pixar shows everyone how it’s done with a heart-warming tale and the most endearing robots ever created.
I also said: Its message is as blunt as a donkey punch
30th July 08 - The Dark Knight
Rating: CF3
What: Nolan and Bale return with the man of bat and a media storm following a career-defining performance mixed with upsetting career-ending circumstances.
I said then: Nolan weaves an impressive tale, with plenty of stonking action, suspenseful lead-ups, dramatic interchanges bristling with danger, and the occasional flash of humour.
I say now: Let’s face it, this has set the bar for superhero flicks. It’ll be interesting to see how the hotly anticipated Watchmen fares against it this year.
I also said: A clown that wants to slice your cheeks and ram a pencil in your face. Come on kids, it’s fun!
14th Sep 08 - Burn After Reading
Rating: CF2
What: The Coens are back again with a spy comedy and a host of their favourite faces.
I said then: Funny, fascinating and fully digestible on first-viewing.
I say now: Double whammy for the Coens, offering up a sizeable main course with No Country, and following up with this sharp and sassy dessert.
I also said: I’m still smug in New York. Check me out. Smug.
2008: The Losers
Not too many stinkers this year, but just a couple I have to mention before the big turkey:
2nd Jan 08 - I'm Not There
Rating: CF-1
I said: "This film is the equivalent of someone taking all the ingredients necessary to make the best cake in the world, putting them in a big bowl, mixing them all together, but then by-passing the oven that will unite them into a cohesive sponge and instead using the mixture to write a big, obscure Bob Dylan quote all over the wall."
3rd Sep 08 - Babylon A.D
Rating: CF-3
I said: “Bloody hell.”
“My only guess is the film makers assume their target audience has stopped paying attention by this point.”
“It was shit. A big steaming shit. Lazily created to sit on our screens for a while before slowly sliding off into the trough of shit films that end up on 3-for-2 offers.”
31st Dec 08 - The Day the Earth Stood Still
Rating: CF-3
I said: "Watch the trailer for the cool stadium shot, then just look at a powerpoint slide with the phrase “save the Earth – recycle” and you’ll have the same effect, only more enjoyable."
The Turkey of 2008
Despite the lowest mark being awarded to Babylon Zoo – sorry, “A.D” - the mantle of turkey of the year has to go to another film. One that was highly anticipated but ultimately annoyed, befuddled and confused. I’m talking, of course, about:
25th May 08 - Indiana Jones and the Kingdom of the Crystal Skull
Rating: CF-2
I said: “Three words: What. The. Fuck.”
“A never-ending car chase interspersed with everything and anything that could exist in the real world (or not).”
“Brings nothing new to the table except a lump of crusty bread that we’ve already seen before, only now it looks like it’s picked up every bit of fluff off the floor and some space dust along with it.”
“No more sherbet, Lucas. Your mother knows what she’s talking about.”
End on a high
Because I don’t want to leave the year with the bitter taste of insane Lucas in my mouth, let’s throw a few special mentions out. 2008 was the year of films that looked rubbish but turned out to be pretty good. Iron Man and Hulk gave a tantalising view of what’s to come from the new Marvel studio, In Bruges demonstrated Colin Farrell’s immense eyebrow acting abilities, Lars and the Real Girl gave soft smiles, Rambo shrieks of unintentional laughter, and Transporter 3 proved there was a reason for living.
There are some exciting films on the horizon for the new year, and an ever challenging new record to beat (45 is the target for 09). Who knows what’s in store. Shall we go and see…?
Wednesday, December 31, 2008
31st Jan 08 - The Day the Earth Stood Still
In a last ditch effort to beat last year’s Cinemafool record of 44 films, we squeezed in one final cinema trip before the last seconds ticked away on the arbitrary marking of time that is the new year. Throwing caution to the wind, the only film that didn’t involve children’s stories being brought to life was a Keanu Reaves remake, and though it had the whiff of potential poo, what better way to see out the year than with a bit of Armageddon? It turns out there are many better ways to see out the year, or spend two hours of your life. Poking a trifle with a fork. Lying face down on the floor. Watching Pirates of the… well, ok. Not quite that.
But it’s surprising just how bad The Day the Earth Stood Still really could be. On the trailer there were cool money shots that suggested full scale destruction. We could ignore ghost-faced wax-work model Keanu plodding around in the background because lorries were being vaporised! Whole stadiums demolished! Who knew what other death and devastation could await! Well. The answer is, frustratingly, none. This is the most sedentary Armageddon piece I have ever seen. The earth is at threat but our only connection to the world is eyebrow-laden Jennifer Connolly, her token son and a handful of army cut-outs, including the portly government representative (a shamefully wasted Kathy Bates). Who cares if the earth is destroyed? Blast it away, was all I could think, as long as you do it with style. But no. They couldn’t even offer me that. Big spheres all around the world. Massive ass-kicking robot. But what, ultimately, is the method of destruction? Dust. A big cloud of metal dust heading for New frickin’ York. Whoop-de-do.
This is the day time stood still as the plot meanders towards a damp flannel finale and your tolerance towards moronic Keanu lessens the more he stares blankly at the camera, perhaps wondering which film he’s supposed to be doing or what time his tea is. Connolly tries her hardest, widening her eyes and staring into lights at every opportunity, but really no one cares. The only reason to watch this sort of film is to see the earth get blown to pieces - there is no other desired outcome in this genre - but this film stoutly refuses to play ball. Sod action and suspense, let’s have a trip to McDonalds and a nice conversation instead.
No disaster flick has yet to beat the monstrously fun Independence Day, a film littered with everything you need in the genre – likeable characters, mega earth destruction, and a rousing speech with drum rolls tinkling in the background. The Day the Earth Stood still is like taking Independence Day and only showing the opening half hour where nothing really happens. But without any form of tension whatsoever. Watch the trailer for the cool stadium shot, then just look at a powerpoint slide with the phrase “save the Earth – recycle” and you’ll have the same effect, only more enjoyable.
A pants way to finish the year, the only way to cheer yourself up is by reading the Cinemafool review of 2008 and seeing the veritable picnic basket filled with film goodies that we’ve been treated to over the last twelve months. The Day the Earth Stood Still, meanwhile, earns a paltry CF-3, and a place on the turkeys list. I’m now making the sound of a raspberry, which I tried typing out but couldn’t get the vowels right. You know the sound I mean though. Think of this film, make that sound, and go rent a DVD instead.
But it’s surprising just how bad The Day the Earth Stood Still really could be. On the trailer there were cool money shots that suggested full scale destruction. We could ignore ghost-faced wax-work model Keanu plodding around in the background because lorries were being vaporised! Whole stadiums demolished! Who knew what other death and devastation could await! Well. The answer is, frustratingly, none. This is the most sedentary Armageddon piece I have ever seen. The earth is at threat but our only connection to the world is eyebrow-laden Jennifer Connolly, her token son and a handful of army cut-outs, including the portly government representative (a shamefully wasted Kathy Bates). Who cares if the earth is destroyed? Blast it away, was all I could think, as long as you do it with style. But no. They couldn’t even offer me that. Big spheres all around the world. Massive ass-kicking robot. But what, ultimately, is the method of destruction? Dust. A big cloud of metal dust heading for New frickin’ York. Whoop-de-do.
This is the day time stood still as the plot meanders towards a damp flannel finale and your tolerance towards moronic Keanu lessens the more he stares blankly at the camera, perhaps wondering which film he’s supposed to be doing or what time his tea is. Connolly tries her hardest, widening her eyes and staring into lights at every opportunity, but really no one cares. The only reason to watch this sort of film is to see the earth get blown to pieces - there is no other desired outcome in this genre - but this film stoutly refuses to play ball. Sod action and suspense, let’s have a trip to McDonalds and a nice conversation instead.
No disaster flick has yet to beat the monstrously fun Independence Day, a film littered with everything you need in the genre – likeable characters, mega earth destruction, and a rousing speech with drum rolls tinkling in the background. The Day the Earth Stood still is like taking Independence Day and only showing the opening half hour where nothing really happens. But without any form of tension whatsoever. Watch the trailer for the cool stadium shot, then just look at a powerpoint slide with the phrase “save the Earth – recycle” and you’ll have the same effect, only more enjoyable.
A pants way to finish the year, the only way to cheer yourself up is by reading the Cinemafool review of 2008 and seeing the veritable picnic basket filled with film goodies that we’ve been treated to over the last twelve months. The Day the Earth Stood Still, meanwhile, earns a paltry CF-3, and a place on the turkeys list. I’m now making the sound of a raspberry, which I tried typing out but couldn’t get the vowels right. You know the sound I mean though. Think of this film, make that sound, and go rent a DVD instead.
Monday, December 29, 2008
21st Dec 08 - Yes Man
“Yes” is a useful word, particularly in response to such questions as “would you like a piece of cake?” “Would you like a free holiday?” or “Is Cinemafool the most stunningly intelligent web site you’ve ever read?”
When Danny Wallace employed the word to every single thing he was asked, it took him on a journey of wonder and, well, what I imagine was self discovery and new horizons – someone borrowed the book off me before I finished it and I haven’t seen it since (no hint there for its return…) Mr. Hollywood thought this concept was genius, threw away the non-fiction aspect and added Jim Carey. From the trailers this film walked a tightrope between guffaw-filled pre-Christmas joy, or a big sloshing bucket of steamy shite.
Thankfully the bucket remains mostly empty, Carey pulling out another Liar Liar-esque performance with a stable comic creation spattered with familiar Carey madness, particularly when he was introduced to the product-placement wonder of Red Bull. There’s a nice message about not wasting your life away by refusing all new experiences and allowing yourself to plod on towards the end in a boring and miserable way. Plus Rhys Darby from Flight of the Concords adds fresh quirk, mixed with a few gross-out moments (saying yes to the advances of a little old lady was particularly disturbing).
Unfortunately there is a little bit of shite in the bottom of the bucket, and that’s largely down to the lazy choice to fall in line with similar comedies, with cliché after cliché in terms of the strange but beautiful love interest (Zooey Deschanel) who must follow the usual track of falling in love – misunderstanding – fall out – get back together in dramatic gesture, plus the side-kick best mates, one quite good looking, the other a bit of a weird nerd. The yes situations do provide some originality, including some neat touches with Zooey’s random band, or the Harry Potter party, but ultimately the question becomes “can you see what’s coming?” and the answer, obviously, is “yes”.
It’s a shame that a high concept non-fiction (ish) book has been turned into more of a run-of-the-mill Saturday night comedy than something fresher, wittier, or just a bit funnier, but if you’re going to churn out a familiar old flick then it’s at least thankful they’ve picked the Carey to head it up. His energy is enough to carry the film, and though it can’t match the greatness of the Ventura, it at least matches up to, if not surpasses, the likes of Liar Liar. Which isn’t exactly the most devastating of compliments, to be honest. Still, it passes the time, raises a chuckle, and may even make you reconsider some life choices, so for that it gains the recommended CF0. A good one to sit in front of when you’ve said yes to one too many mince pies.
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