On Missing the Target in The Rum Diary

Johnny Depp plays a journalist named Kemp whilst channelling his friend and novelist, the late Hunter S Thompson. The Rum Diary (based on Thompson’s novel) follows Kemp to Puerto Rico and to a failing newspaper. The idea of a newspaper in decline is the first point of real interest that the film deals with on a surface level only in favour of poorly directed jokes about the effects and after effects of drink and drugs. The second point, ignored for the purpose of more bad jokes, is that of the American Dream. In one brief scene Depp’s character and his editor discuss how Puerto Rico, as part of America, is where people come to achieve the elusive and essentially mythic, American Dream. At the same time as rich Americans come in to build the dream, poor Puerto Ricans live in squalor. These two ideas could have been combined with the story of a journalist drawn in by the magic of the dream, only to realise his errors and attempt to uncover the myth and at its core this is what The Rum Diary wants to be. Yet, for some reason, whether in editing or even earlier in pre production, the idea was taken to turn this into a booze and drug fest with the same unamusing joke replayed over and over without any real attempt to adapt it. The Hangover (2009) did this far more successfully and without the pretence of achieving something grander.

On Halcyon Days in Midnight in Paris

Midnight in Paris is the latest film from maybe the most prolific American director, Woody Allen. With this much output, there’s going to be hits and misses. Midnight in Paris is the former. Woody Allen films have a niche audience, with the occasional crossover, such as Vicky Cristina Barcelona (2008). Midnight in Paris seems set to remain within that niche audience of loyal Woody Allen films. Not only does it have the expected collection of neurotic characters, but through its time travelling concept, boasts a list of personalities only a graduate of English literature and art history could recognise; Hemingway, Dali, Man Ray, Fitzgerald. Essentially, without a pretty good knowledge of the Parisian art scene in the 1920s, much of the film’s references and humour will be missed.

Fortunately, the film has something else going on, something universally applicable. The idea of halcyon idyll. What if life in the past was better? This is something many often consider and the film uses its central protagonist to address this well. Allen clearly has an affinity for the past as he makes the present so unattractive, especially the Tea Party Republican parents in law. Yet, Allen also takes care to remind us that living in the past can only be a hobby and that appreciation of the present is the only way to be happy. The idea roots the film and gives it an accessibility that many would struggle to find amongst the art culture name-dropping.

On The Ides of March

The Ides of March is a political thriller the likes of which are not often seen at the cinema in the last two decades. The film does not pander to an uninformed audience, but maintains a superb pace and level of tension so that any audience would be enraptured by this tale of warring democratic presidential nominees.

The biggest coup that George Clooney as director has pulled here is populating his film with an excellent cast. From Clooney himself as the Obama like candidate with a dirty past to the protagonist, Ryan Gosling, the optimistic, young media mind with a ruthless streak, the acting is magnificent. And that is not even mentioning the always fantastic Philip Seymour Hoffman, who here grounds the film from escaping into melodrama with his restrained passion. Paul Giamatti, Evan Rachel Wood and Marisa Tomei, Jeffrey Wright, all excellent.

To strip the film back and just look at the story is to reveal weaknesses. There are some scenes that feel far too contrived and the ending, while appropriately downbeat and ambiguous, still feels unsatisfying. The smaller plot stands prove far more tantalising and offer more affecting twists and turns. The development between Gosling and Giamatti’s character is fantastic and unexpected. Fortunately for the larger story Clooney’s direction is assured and his awareness of audience is second to none. The manner in which the characters lives are allowed to unfold ensures the pace is perfect and the suspense rises and falls, playing the audience like spin-doctors play the voters. Although this should come as no surprise from a director who has given us the excellent, Confessions of a Dangerous Mind (2002) and Good Night, and Good Luck (2005) and the fun, if slightly misjudged, Leatherheads (2008).

The ides of March refers to the day Caesar was murdered by those closest to him. There may be no murder here – not of Caesar, anyway – but there is an inner circle and there is betrayal and this proves a welcome return for the political thriller and makes one nostalgic for the 1970s, a decade which produced such films with prolificacy.

On Making the Most of 3D with The Adventures of Tintin: The Secret of the Unicorn

Just when it seemed that 3D was waning, with a contribution from a string of poorly written, poorly directed and poorly acted films, made strictly because the technology exists (never a good idea), comes a film that uses 3D to its potential. The Adventures of Tintin: The Secret of the Unicorn directed by Spielberg and produced by Peter Jackson, with a script by three British writers, Joe Cornish, Edgar Wright and Steven Moffat. Not since Avatar (2009) has a (non Pixar) film used 3D to its full potential. In addition to the well constructed, exciting action sequences you’d expert from Spielberg, the director uses the motion capture animation, combined with the 3D to create scenes that merge into each other. A puddle on a Belgian street becomes a desert with Tintin and Captain Haddock walking through; a bottle becomes a telescope as past and present stories are beautifully combined. Where The Adventures of Tintin raises the bar is with its well written story and characters worth investing in. It doesn’t have the adult crossover that recent and really great films have had (again, see Pixar), but it does possess a lot of old school style charm that many adults will enjoy. The speed in which the action sequences arrive can be dizzying; there is little time to consider the characters, only enjoy them, but fortunately the story is well delivered and easy to follow, despite the barrage of visual information. The Adventures of Tintin has Spielberg written all over it and there is plenty of promise here to warrant excitement for part two, directed by Peter Jackson.

On an Unseen Killer in Contagion

A horror film where the killer is completely unseen, but without the exploitative violence of the Final Destination series (2000 - 2011), is what Steven Soderbergh’s Contagion succeeds in being. Obvious comparisons will be made with Outbreak (1995), yet Soderbergh and screenwriter Scott Z. Burns have achieved a far more terrifying and realistic portrayal of a worldwide disease outbreak. Even more terrifying with the recent bird flu and SARS scares. The film has drawn together a very impressive task, yet the star of the film remains the unseen killer, which is a shame as the characters and acting are great, but have little space to stretch their legs and become people we really invest and care in. Instead, we leave Contagion scared of touching our own faces, which is still, quite an achievement.

On Questions of Paradox with Pina

Arriving at cinemas not long after Cave of Forgotten Dreams (2010), Pina is another 3D film by a director one wouldn’t assume to embrace the new technology, Wim Wenders. Next up is Martin Scorsese’s, Hugo (2011). The paradox here, as with Cave of Forgotten Dreams, is that the subject matter of Pina is aimed at a very specific, niche audience, yet the technology is primarily used to enhance box office by charging more for cinema tickets and appealing to a larger audience. Pina began life as a documentary about Wenders’ close friend and choreographer, Pina Bausch. Sadly, during filming, Bausch passed away and the film became a tribute to her work, complemented by interviews with the key dancers in her company, reminiscing on their lives with Pina. Without knowledge of dance, or of Pina Bausch, this could have been a difficult film to watch. Attempting to add your own meaning to the dances would prove fruitless and lead to one missing much of the excitement. Yet, Wenders’ skill as a director turns this into an overwhelming experience that should simply be allowed to wash over oneself. The dancing is impressive and the choreography incredibly creative. Wenders’ matches Pina’s creativity with his own and because of this the film, which could realistically be very isolating for some people, becomes a joy to watch.

On Questions of Identity in Les Quatre Cents Coups

Throughout Francois Truffaut’s enduring coming of age classic, Les Quatre Cents Coups (The 400 Blows), Antoine, the young lead is referred to as “the kid” and repeatedly reminded, “Your father gave you your name”. This raises interesting questions of representation and identity (his paternal father, isn’t even his biological father; he remains an unknown). Especially, when we consider that Antoine (also referred to by his surname at school), dresses fairly uniquely ain the academic environment, yet is then later regimented into life at the delinquency school by being forced to dress as everyone else. Essentially taking away Antoine individualism and further reducing his identity. There are many reasons that could be pointed to in an attempt to explain Antoine’s behaviour, but maybe by referring to a separation between individual and name, Truffaut is suggesting that young children, at the time, being pushed through an ineffective academic system and not experiencing adequate support at home, were unable to find a foothold in life from which to propel themselves forward. Therefore, a life of petty crime and inoffensive misbehaviour follows. In addition, where there is a lack of empathy from all levels of authority (parents, teachers, police, politicians) is it any wonder that negative representations of youth abound? It is important to remember that this is also a film that refers to the draft, meaning the French indo-China conflict in Vietnam. This further reinforces the statement that Truffaut was commenting upon the uncertainty faced by young people, especially young boys. By referring to Antoine in the ways mentioned above, is he being unconsciously prepared for a future where he will be another faceless nameless statistic, whether one to do with crime or war? If so, separation from one’s identity is the perfect preparation for such a desolate future.