Life in the blink of an eye. Richard Linklater's Boyhood is caught between knowing its place and longing for it, between appreciating the fleeting futility of human existence on this planet and seeking greater depth and meaning within it. Linklater is sage enough to understand this dichotomy, reminding us of our own inescapable mortality while accepting that we might as well seek more meaning within our lives, since they're all we've got. He's not sage enough to grasp the position of his players within their lives, though, addressing their thoughts and their concerns with utmost trust and sincerity. His film is determinedly subjective, and while that provides the viewer with a vast expanse on which to build our personal interpretations, it does make Boyhood feel a little more pat than it wishes to be. As skilled as he is in expressing them, Linklater's messages are simplistic and unoriginal. Boyhood is extremely easy to watch, however, its depiction of one boy's maturation a fascinating thing to behold in this perfectly-judged space of time - precisely the right length of film to capture both the individual moments in time and their collective significance. Remarkably, his cast slips into character seamlessly with each installment in the narrative, and their performances have an amiable, unforced timbre. Sporadic strains at poignancy feel like schematic jolts, purposeless in context; Boyhood is at its most touching when it surrenders to the simple passing of time as it is experienced. It's in the subjectivity that we bring to watching it that we understand this life, in the blink of an eye.
Tuesday, 29 July 2014
Monday, 28 July 2014
You can't stop me from legitimately wanting to see this, because I liked The Hunger Games and I liked The Hunger Games: Catching Fire even more. Not even this boring trailer, nor the hilarious one before it, can stop me. All confirmed release dates so far for The Hunger Games: Mockingjay - Part 1 have it coming out between the 19th and the 21st of November, with North America and the British Isles receiving it on the 21st. Hey look! That's Julianne Moore! And that's all she needs for an Oscar nomination for Maps to the Stars after her Cannes success. Yes ma'am.
Ned Benson's romantic drama, which will be available for viewing in three unique versions (Them, Him and Her), comes out in the US on the 26th of September. TWC will surely be hoping for strong buzz and a good box office performance to help the film maintain positive hopes on a successful awards season bid a few months after. You may remember The Disappearance of Eleanor Rigby from TIFF last year, or from Cannes this year! Check out my girl Sasha Stone's quote and credit on both posters!
Like it or not, Pierce Brosnan is apparently still enough of a box office draw to be helming action thrillers. That doesn't bother me, even if Mamma Mia! did. Bond meets Bourne meets itty-bitty budget in the above trailer. It's disappointingly male-centric, with Olga Kurylenko playing a sexpot who supposedly needs protected. Bored already. But wait! Roger Donaldson is the director, so there's that, and I'll watch Kurylenko in anything, and so should you. The November Man is released in the US on the 27th of August, after Relativity shuffled it into the much-troubled Jane Got a Gun's prospective release slot.
Steven Spielberg's as-yet untitled Cold War spy thriller is taking shape, with a newly expanded cast. Tom Hanks will reunite with his director on Saving Private Ryan and The Terminal, as we already know, alongside Mark Rylance, and will be joined by new cast members Alan Alda, Eve Hewson, Billy Magnussen and Amy Ryan. Shooting commences in September; the Fox / DreamWorks co-production is set for release in the US for an awards-friendly date on the 16th of October 2015, a similar fall release to Spielberg's last, the highly-successful Lincoln. The Coen brothers are currently working on a script rewrite.
I didn't know much about Dan Gilroy's directorial debut Nightcrawler before watching this trailer, and I still don't know much about it after watching it. Jake Gyllenhaal couldn't open a movie if it was The Avengers vs. Titanic, though, so my hopes aren't up. Who ordered a Drive rip-off? Before a US opening on the 17th of October and a UK one on the 14th of November, this if heading to TIFF.
As if to confirm that they intend to follow in last year's footsteps by opening with a gigantic turd (it was The Fifth Estate then, remember?), the TIFF organisers have decided to open their 2014 festival with David Dobkin's The Judge. No, rly. TIFF begins on the 4th of September this year, and Warner Bros. is releasing RDJ's self-appointed ticket to Oscar (k sure) in the US on the 10th of October and in the UK on the 24th. Brace yourselves.
Saturday, 26 July 2014
One could look so frequently to science-fiction movies to observe examples of 'style over substance' that it has somewhat become a staple feature of that genre, a touchstone upon which directors can validate their own shallow exercises in sci-fi filmmaking. William Eubank's The Signal is a puzzle of a plot that slowly forms into a rather dissatisfying picture, and then falls apart entirely with a naff twist ending that's so self-consciously meta it's even scored to dubstep. As stupidity goes, it's a cut above the rest of this film, which presents silliness as momentousness, but generally has the viewer on side, as we await the eventual explanation that will confirm the purpose of what Eubank has designed. His explanation fittingly denounces all that has been before as futile, though is itself a throbbing beacon of futility. Though lacking in any tangible substance, yes, The Signal is a stylish sci-fi film, as conventional entries into the genre ought to be. On a small budget, Eubank administers some effective CGI, and the film has a slick aesthetic. None of it is particularly revolutionary, despite Eubank's insistent portentousness, and confirms the derivativeness of so much of The Signal, right down to its basic visual conception. It marks a distinct disappointment that, even in this most vital regard on which the film supposedly thrives, The Signal is lacking in original thought or surprise. A feeling of disenfranchised fatigue settles in, and the mind-fuck final shot doesn't jolt one out of it, it actually reinforces that feeling.
Friday, 25 July 2014
A frothy documentary, full of humour and pep, but devoid of any particular incisiveness at any time, Supermensch: The Legend of Shep Gordon paints a picture of a man that all involved with the creation of it would likely herald as a definitive account of his life. Like Shep Gordon, it overlooks the whys and often the whats, and concentrates on the whom, which is fun and engaging for a time. As a film, it's basically just a roster of famous names and faces, like the list of Gordon's clients before the end credits, like a big, colourful sign reading "LOOK AT HOW SUCCESSFUL I AM!", with no depth, no subtext, no reasons. One feels there were no questions asked either - we hear of Gordon being described, fairly convincingly too, as an exceedingly pleasant man, but there are aspects to his character that go wholly unexplored yet lodge themselves in the minds of the more attentive viewers: the evidence suggests he's a vacuous misogynist, but that's of no consequence to Mike Myers' film, alas. Maybe that capacity for vacuousness exists in all of us, though. It certainly exists in me, as I find that a retro soundtrack and a barrage of celebrity contributions is more than enough to appease me, at least for an hour or so. Supermensch takes on the character of the ultimate rock bio-doc, ticking off boxes of requisite markers in the genre with a combination of gusto and haste. It's as high-octane as documentaries get, but that haste results in only intriguing us, rather than involving us - we want to learn more, but aren't afforded the opportunity to do so. And the fast pace becomes tiring, meaning that the film feels considerably longer than its mere 85 minutes. Supermensch leaves you feeling curious, but not fascinated, like you suppose you ought to feel.