Jul 1, 2015

Face-to-face with cinema's Mona Lisa

'Collecting movie posters has always been among the more socially acceptable of cinema-related perversions. Above my desk hangs a 5-ft poster for Jonathan Demme’s 1986 film Something Wild, featuring a geometric rendering of two parted female legs by acclaimed Polish designer Andrzej Nowaczyk, not because I speak a word of Polish but because I have always wished for my writing career to proceed from a point equidistant between the knees of Melanie Griffiths’. “It was part of this urge or impulse to posses the cinema experience,” director Martin Scorsese once said of his own collection, begun in the 1970s and now numbering some 3,000 posters, 34 of which are currently on display at New York’s Museum of Modern Art as part of a show which runs until October entitled “Scorsese Collects”. The posters range from Raoul Walsh’s silent classic Regeneration (1915) to Stanley Kubrick’s 2001: A Space Odyssey (1969) but the great majority hail from the 1940s and 1950s, when Scorsese was a teenage movie fanatic, marinading in flicks like Howard Hawk’s Gun Crazy (1950) or King Vidor’s Duel in the Sun (1946) which he remembers for its “bright blasts of deliriously vibrant color, the gunshots, the savage intensity, the burning sun, the overt sexuality.” He was, at the time, just four years old, an age when most of us are taking in Bambi. And you wondered why Raging Bull is a little intense.' — from my piece for Intelligent Life

Coming soon to bookstores

Yes, it's time. My book on Woody Allen, whose 45-film ouevre tested but did not defeat my hardy completist impulses — bring it on! — is nearing bookshelves, arriving on September 28th in the UK and on October 20th in the US. I will also be appearing at the Port Eliot Literary Festival on August 1st talking on the subject 'Ten Things Woody Allen Has Done For You'  in the course of which I intend to touch on such personal favors to moviegoers as:— introducing Sylvester Stallone, employing Gordon Willis, and directing 6 actresses to 6 Oscars.

Jun 30, 2015

INTERVIEW: Laura Linney

'Linney has the droll, sympathetic manner of a veteran novelist: the kind of woman you might talk to all evening at a dinner party before realizing in the car on the way home you were the one who did all the yakking. That, you suspect, is how she likes it.  A theatre actress by training, she affects surprise and humility at her movie career, which has often found her playing the kind of women it might be easy to take for granted  — her struggling single mom in 2001’s You Can Count On Me, her devoted first lady in the HBO series John Adams — who nonetheless find themselves acting in a way which surprises them as much as everybody else. She makes mysteries of ordinary people.' — from my interview for Net-a-porter magazine

On my iPod June 29th 2015

1. Life's Work — The Weather Station
2. Vapour —Vancouver Sleep Clinic
3. The Only Thing Worth Fighting For — Lera Lynn
4. I Know I'm Not Wrong — Fleetwood Mac
5. A Field Of Birds — The Tallest Man on Earth
6. Diana Krall — Don't Dream It's Over
7. Depreston — Courney Barnett
8. Somebody Was Watching — Pops Staples
9. Primrose Green— Ryley Walker
10. Gracious — Bobby McFerrin

Jun 27, 2015

The origins of the summer blockbuster

'Not for nothing does the trailer for Jurassic World feature a 15-ton Monosaurus, rearing up from a Seaworld-style lagoon to devour a dangling Great White Shark, acting as bait. These days, Jaws counts as a pre-lunch snack. Jaws has become synonymous with wide openings but the chairman of Universal, Lew Wasserman, actually dropped the number of theatres the film played in from a proposed 900 to 409. Lew said  ‘I want you to drop three hundred of them. I want this picture to play all summer long. I don’t want people in Palm Springs to see the picture in Palm Springs. I want them to have to get in their cars and drive to see it in Hollywood,’” the film’s late producer Richard Zanuck told me before his death in 2012. “He was so fucking clever, because that’s exactly what happened.” In other words, the theatrical release of the original summer blockbuster benefited from the oldest trick in the book — artificially reducing supply to increase demand.  The film’s eventual 409 cinemas wasn't even closest to the widest opening —the year before, Warner Brothers had opened The Trial of Billy Jack on 1,000 screens and watched it take $89 million. And while Universal devoted $700,000 to promoting Jaws, the largest such expenditure in the studio’s history, Zanuck and partner David Brown’s insistence on using the same image of a shark’s head that adorned author Peter Benchley’s paperback, to cross-promote film and the book (“from the acclaimed bestseller by Peter Benchley…”) was a tactic borrowed from the playbook of producer Robert Evans, who had done the same with The Godfather and Love Story. “The making of a blockbuster  is the newest art-form of the 20th- century” Evans told Time magazine. The modern summer blockbuster owes as much to Ali McGraw saying “Love Means never having to say you're sorry” as it does Roy Scheider going “we’re going to need a bigger boat.”  
— from my piece on Blockbuster Strategies for the FT

Jun 22, 2015

REVIEW: INSIDE OUT (dir. Docter)

'Like all Pixar films, the new one seems both impossible when you first hear of it and inevitable once you’ve seen it. The neurological basis of emotions turns out to be a surprisingly good subject for an animated cartoon, the brightly personified emotions almost like mini-animators themselves, pulling levers and pushing buttons to retain control of Riley’s reactions as she negotiates the moody, unruly emotions of pre-adolescence, as joy and Sadness attempt to overcome their differences and return to base. It’s as if Docter were asking: what animates us? Some of his inventions are happier than others.  The Islands of Personality that mark the outer perimeter of Riley’s internal landscape  — Friendship Island, Family Island, Hockey Island, Goofball Island  — had a slightly anodyne, theme-park feel to them, and I was relieved to see them crumbling and slipping into the abyss, as Riley grows more sullen and withdrawn, like those cliffs tumbling into the sea at the end of Inception:  M C Escher meets The Beano... There is a transluscency to the film's ingenuity:  you can see the idea glowing beneath the skin of the movie, which at times resembles a live brainstorming session of the Pixar braintrust. What keeps it from the ever-present threat of abstraction and allows it to find deeper anchor is the increasing size of the role Docter gives sadness. I mean that literally: the actual size of the actual role given actual Sadness. Initially bossed around by the others — “I’m not actually sure what she does,” says Joy “I’ve checked” — Sadness comes into her own as they meet up with some of the discarded relics of Riley’s childhood, including  her old imaginary friend, Bing Bong, a pink elephant-like creature with cat-like whiskers who is destined for the memory dump and who taps into exactly the same melancholy thoughts of their inevitable obsolescence that drove the toys in Toy Story.' 
from my review of Inside Out for Intelligent Life

Jun 18, 2015


'Distinguishing the living from the dead has never been easy in this show. The dead refuse to depart and the living can’t wait to join them. The new season begins with a corpse leaving town, rather stylishly, in the backseat of a limo wearing shades, like a celebrity avoiding the paps.  That corpse leaves a trail that encircles Vaughn’s property deal, beckons us into the sound-proofed rooms and pleasure palaces of the porn industry, before spiraling, as is Pizzolatto’s wont, into the realm of higher metaphysics, the degradations of the human body leading naturally to the flights of its spirit: the third episode even features a Lynchian vision of the afterlife, complete with Paunchy Elvis impersonator.  “Am I supposed to solve this?”  asks Farrell at one point and you can only sympathize. The delicate balance struck by plot and atmospherics —between mysteries and mere mysteriousness — has tipped decisively towards the latter, with director Justin Lin patrolling the toxic wastelands and snaking freeways of outer Los Angeles from on high like a vengeful God on the hunt for sinners, the knot of concrete concourses below a perfect metaphor for the show’s Altmanesque character collisions and plot convolutions.  By the end of the third episode I had happily given up on forming even a basic set of working assumptions about what was going on, instead cleaving to the theory that the moral redemption sought out by each character is in directly proportional to the magnitude of career redemption desired by the actor playing him, minus the square root of the amount that otherwise would have been spent on hair and make-up. If movie stars looking as if they have just eaten something that disagreed with them is your thing, this is your series. Farrell is the clear winner here, with his stringy hair, droopy seventies-era moustache, and complexion a delicate shade of nicotine-gray. Unwilling to take the paternity test that will reveal if his raped ex-wife bore his son, beating up on the kid’s class-mates, Farrell’s Ray is a superb portrait of a man undergoing a comprehensive  spiritual rout. What’s missing so far is what drove the first show: a sense of evil so palpable you felt like you needed a bath after watching it. What we have so far is a snake trail of civic corruption like The Wire, but the political ire that drove that show is not Pizzolatto’s strong suit. His beef with the human race is more personal, intimate: he’s a moralist with an insatiable sweet tooth for moral rot. He wishes to bring no injustice to light; he wishes to join his sinners down in the dark His landscape is that of the fin-de-siecle decadents, those etiolated high priests of the high morbid manner Wilde, Baudelaire and Beardsley, with one foot in Poe’s house of horrors.' 
— from my review for Vogue.com

Jun 14, 2015

REVIEW: MR HOLMES (dir. Condon)

'In form, Mr Holmes approximates the cosy contours of the biopic — there are choo-choo trains, Bentleys, starched collars and walled gardens  — except of course that Holmes is fictional and this lends the film some acuity as an act of literary deconstruction. In place of deerstalker and pipe, we get a top hat and cigar; the books, penned here by Dr Watson, are disdained as “penny dreadfuls with an elevated prose style” by Holmes, who, for an afternoon’s amusement, sits in the cinema, scoffing at the films made of his adventures. Even better is the small, furtive glance McKellen gives around the cinema, post-scoff, to check he hasn't drawn attention to himself — a lovely touch of scampishness in which his isolation can nevertheless be felt. This Holmes is selfish, boyish, privately panicked, sometimes cruel, each note played by McKellen with invisible fingers — the maestro barely touching the keys. Like many of our greatest Shakespeareans, his screen-career has been intermittent and late-breaking.  Olivier and Burton made it as young men, but on the whole Hollywood prefers to let English thespians simmer in their own juices until such time as they can be ‘discovered’ in middle age — ready-made institutions. Just add the right role and stir.  McKellan was a striking beauty as a young man, his face somewhere between the pouty impudence of Keith Richards and the low-lidded sultriness of Charlotte Rampling, but it wasn’t until 1993, when McKellan was 54, that Hollywood perked up. He appeared in four films that year, including a small part in Last Action Hero as Death, come to shuffle Arnold Schwarzenegger from this mortal coil. The link between Shakespeare and Schwarzenegger may not be immediately apparent, McKellan’s subsequent career illuminated a new path for RSC-trained actors in the brave, new wonderland of digital special effects, in which the very laws of physics seen to shimmer on command: providing the voices with the authority of issuing those commands.' — from my review in Intelligent Life

Jun 3, 2015


'You remember the scene. Taking a break from dropping chum into the ocean to lure their rogue shark into the open, Quint, the barrel-chested blowhard, sinks a can of beer and then, fixing Hooper—Dreyfus’s rich-kid oceanographer—with a stare worthy of the Ancient Mariner, crushes it. Hooper, fixing his nemesis with an equally piercing stare, lifts the Styrofoam cup he has in his hand and crushes that. Barrel-chested displays of machismo: 0. Self-deprecating beta-male irony: 1.  That single moment tells you why the “Jaws” anniversary is worth celebrating. The film’s big scare moments may have lost a little of their bite, certainly on the small screen. But still going strong, after all these years, are the film’s fillets of character, often expressed with sight gags: the Styrofoam-cup versus beer-can crushing scene, or the one where the police chief, Brody (Roy Scheider), slowly realises his son is copying his every gesture at the dinner table—his chin rested on his fist, then steepling his fingers, then cradling his face. Both moments came out of the enforced improv sessions Spielberg held with his actors while his mechanical shark wasn’t working. Both moments play out wordlessly, as all the best moments in Spielberg do: the UFO-in-the-rearview mirror gag in “Close Encounters of the Third Kind”, or E.T.s touching of fingers with Eliot in “E.T. The Extraterrestial”. They reinforce our sense that the director’s real progenitors in “Jaws” was not so much Hitchcock, and still less Herman Melville, as Charlie Chaplin.' — from my piece for Intelligent Life

Jun 2, 2015


'Stars Wars was a battle which landed Lucas in hospital and it shows: there’s fight in the picture. Everywhere you looked you saw marvels  —hammer-headed aliens, high-speed dogfights, light sabres and landspeeders twin suns and detonating moons — all filmed by a director who couldn’t wait to get from one end of his freshly-summoned universe to the other, featuring characters who reserved for these marvels the disdain you or I might reserve for our crappy old cars of a Monday morning.   “What a piece of junk!” exclaims Luke. “She may not look like much,” replies Han Solo, “but she’s got it where it counts, kid, I made a few modification to her myself” — an exchange of dialogue that provides such a neat summary of critical opinion on the film that you wonder why critics in 1977 didn’t simply put their feet up and leave the film to review itself. Junk is everything to Star Wars. The Jawas deal in junk. The droids are sold as junk.  Our heroes are delivered as junk into the death star’s trash compactor, the death star being the only new piece of technology on display and therefore sign enough of its nefariousness: the Empire are the only people in the galaxy not to have heard of recycling. Everyone else tinkers and modifies, retrofits, recycles and retools. If the vast, multi-billion dollar franchise that Star Wars spawned can be boiled down to a single insight on Lucas’s part, it is this one: that the exact same feeling of slightly crabby, proprietorial fondness Han Solo nurses for the Millenium Falcon was going to be one people would be feeling a lot more in the years to come. They would feel it for their computers, their Ataris, their Apples, their x-boxes, their iPhones and iPads.  That we even have a relationship with technology was, in 1977, news. Lucas took that feeling and on it he built an empire.' — from my review for the New Statesman 

May 17, 2015


'Who knew the Elephant Man was so good for a laugh? As is traditional for stage actors playing Joseph Merrick, the circus freak briefly feted by Victorian high society before his death, at age 27, in 1890, the movie actor Bradley Cooper uses no prostheses to play the part, instead using his body’s putty-like powers — gait, posture, diction — to suggest Merrick’s monstrous deformity. Stood on stage of the Booth theatre on Manhattan’s 45th street in no more than a loin cloth, the star most famous for his roles in Silver Linings Playbook and American Sniper twists his body like a gnarled old branch, one arm going entirely dead, one hip dropping and leaving most of his weight on a cane, his mouth crunched up on one side of his face, so that his words slurp out of one corner, like water around a plughole. And what emerges? Unlikely as it may sound, but: Jokes. Not funny har-har jokes. Not thigh-slappers. Not rib ticklers. But oblique, waspish observations on the hypocrisies of the Victorian society that has so embraced him.     “If your mercy is so cruel,” wonders Merrick of an orderly’s firing, “what do you have for justice?”   There are many actors in attendance on the night I see the show — including Michael Sheen, Sara Paulson and Billy Crudup, who last played the role on Broadway, here presumably to see how the new boy fares. Crudup, Mark Hamill and David Bowie and have all taken on the role. In the 1980 David Lynch movie John Hurt played Merrick as a naïf, almost childlike in his eagerness to be patronized, grateful for the human contact it brought him, but Cooper locates an element of irony in his rasping diction, and offers mild, glancing rebuke to the bishops, aristocrats and assorted dignitaries gathered around him. He makes Merrick a wit.' — from my interview with Bradley Cooper for the Sunday Times

May 16, 2015

When playing yourself is playing a part

'It is perhaps telling that in both instances — The Act of Killing and The Man Who Saved the World — a departure from strict fly-on-the-wall methods was necessitated, or went hand on hand, with the task of overcoming the resistance of subjects hardened by repressive regimes: Russian and communist Indonesia. Verite turns out to be a poor tool for penetrating ideology.  “Its like an onion,” says Peter Anthony of trying to unravel the grumpy and frequently drunk Colonel Petrov. “You want to peel off all these layers and get to the middle.” And what did he find? At times reluctant to act out conversations for the cameras, he gradually warmed the process. Indeed, after spending some time with a German experimental theatre troop, who heard of Petrov’s story and took him on tour with them as part of an anti-war theatre piece,  “He came back very different,” says The Man Who Saved The World’s producer Jakob Staberg. “Before he would shoot a scene and complain  ‘I’m not an actor’ when he thought Peter was being too demanding. After he came back from playing theater he would say ‘okay Peter now my character, I would say this…’ and had long discussions about how she should pronounce different words. His late wife used to be a projectionist screening 35 mm films in military base. He loved going to the movies. Maybe that’s one of the reasons he became a part of out film. He got to be the star of his own movie.  The Russian actor playing him as a young man said, ‘his acting is better than mine.’ He had tears in his eyes. ‘He’s amazing.’”' — from my piece about documentary truth for the Financial Times

My movie of the summer....


"It’s been a while since we checked in with Connelly, last seen laboring through a series of rom-comish dramas  He’s Just Not that Into You, Stuck on You, The Dilemma — wearing the expression of Antigone making conversation at a tupperware party. She took a couple of years off from acting to have her daughter, Agnes, but returned to screens last year in Darren Aronofsky’s Noah, playing Noah’s wife Nameeh, fighting for her children’s life as the heavens opened... This month sees the release of Aloft, Connelly’s film with Llosa, a mix of mystical allegory, handheld cinematography and subzero temperatures, in which Connelly plays a mother of two sons on the periphery of the Arctic circle who is drawn into the company of faith healers after tragedy strikes at the heart of her family. Put it together with Noah and Shelter, her forthcoming drama about homelessness in which she was directed by husband Paul Bettany, and you have a trio of films pitting Connelly against the elements, scratching out an existence beneath glowering skies. No question: she is in survival mode.   At 44, her beauty has shed whatever air of sultriness it had in her twnties and bedded down into something altogether more purified, striated, fierce. In Aloft those green eyes seem to contain their own arctic storms." — from my profile for Town and Country magazine

May 10, 2015

On my iPod: May 13th 2015

1. Will You Dance? — The Bird and the Bee
2. No Room in Frame  — Deathcab for Cutie
3. Armellodie — Chilly Gonzalez
4. Style — Taylor Swift
5. One Last Time — Ariana Grande
6. Gracious — Bobby McFerrin
7. Not Alone — Olafur Arnalds
8. Want To Want Me — Jason Derulo
9. California Nights — Best Coast
10. Disciples — Tame Impala

Apr 29, 2015


'As hedonistic a picture about a life of crime as has ever been committed to film, it is not about guilt, or male angst, or Catholicism — or any of the themes that cross-hatched his work in the seventies. It doesn't tell us that crime doesn't pay, or that it is morally wrong. Instead, it tells us what gangster pictures had been trying to tell us since the days of Cagney but didn’t quite have the guts to spell out. “Goodfellas” tells us that crime is fun—enormous, outsized, XXL-fur-coat, spending-spree-with-a-cherry-on-top-style fun. The fun doesn’t last forever—as addicts like to say, first it’s fun, then its fun with problems, then it’s just problems—but who said fun would last forever? That’s precisely what makes it fun. The disastrous original test screening in Orange county, from which 70 people walked out, feels like a report from another country, or even planet: Orange County is blue-rinse central. These days, “Goodfellas” plays more like a much-loved comedy or musical. The audience at the Beacon theatre   cheered Hill’s opening monologue  (“For as long as I can remember, I always wanted to be a gangster….”), roared at certain musical cues like Sound of Music enthusiasts, and applauded Joe Pesci’s head-spinning series of fake-outs at the Copacabana (“Funny how?”), murmuring his lines along with him, as if repeating Abbott and Costello’s “who’s on first” routine.   Goodfellas” may not be Scorsese’s greatest film—that title still belongs to one or other of Scorsese’s two great deep-bore character studies with de Niro, “Taxi Driver” and “Raging Bill”—but it is his most enjoyable, and marks his most ebullient performance as a director, a full polyphonic work out for all the stylistic felicities he had enjoyed as a documentary filmmaker and student of the New Wave — multiple narrators, virtuoso tracking shots, freeze-frames. He’s showing off, to be sure, but that’s what the film is about: sprezzatura, peacock display, plumage.' 
— from my piece about Goodfellas 25th anniversary for Intelligent Life

Apr 22, 2015

PREVIEW: Nils Frahm on tour

'Encylopedias regular hmm and haw over whether the piano is a string instrument or a percussion instrument. In the hands of classical German pianist Nils Frahm, it is both. In 2011 Frahm made an important discovery. Recording late at night and trying to do his neighbours a favor, he damped  the sound of his piano with a thick layer of felt and placed his microphones so deep inside as to be almost touching the strings. The results were quite literally breathtaking: on the subsequent recordings, released on his 2011 album Felt, you can hear not only Frahm’s breathing but the creak of floorboards beneath his feet, together with the delicate rustle and scrape of ivory against wood, wood against felt, felt against steel  — the secret sonic life of the piano revealed. Frahm is not the first to experiment with mic placement; in his recordings for Blue Note, engineer Rudy Van Gedler took such care with his mics that listeners today could be mistaken for thinking Thelonius Monk in their living room. But Frahm is the first to pursue mic placement to so intimate an end, seeming to place your living room inside his piano, like Pinocchio inside the whale. You seem to be listening to it from somewhere deep inside it’s ribcage, hearing not just the note but the complex relay of levers, hinges, rails, flanges, pins and hammers responsible for sounding it, thus bringing to light a secret kinship between the piano and instruments like the guitar or harp in which fingers come into direct contact with strings. The human touch loses any sense of metaphor; shed of some of it’s concert hall formality, the piano suddenly seems thrillingly intimate, modern.' — from my piece on Frahm for Intelligent Life

How I Killed the Movies

'It’s hard not to fall in love with the Superman of the thirties, but then what’s not to love about Depression-era America? The Depression itself, I suppose, but if that goes into the debit column, to too does Tin Pan Alley and screwball comedy, Cole Porter and Cary Grant, and all the other all the other popculture born of that era’s unbeatable mix of wish-fulfillment, pluck and grift. As Gerard Jones makes clear in his zippy history Men of Tomorrow: Geeks, Gangsters and the Birth of the Comic-book, superhero comics were largely the creation of Jewish ghetto kids from Manhattan’s lower East Side — scrawny, near-sighted, sci-fi-loving nebbishes who could sketch but not speak to the beauties they saw at school, and who lapped up the deeds of Tarzan, Charles Atlas and Douglas Fairbanks, before fashioning their own amalgams of rippling musculature and idealism to “smack down the bullies of the world,” as one of Superman’s creators, Jerry Siegel put it. These days, I look at the abundance of merchandise and movies aimed at kids like me with the wonder and confusion of Hiep Thi Le wandering through the vastness of an American supermarket for the first time in Oliver Stone’s Heaven and Earth. A form tilted towards underdogs has become the plaything of bullies — soft-power workouts for the coach-potato Dauphins of the world’s single remaining military colossus. Today’s comic books movies are dreams of power with their roots in weakling wish-fulfillment all but eliminated: the civilian alter-egos of the Avengers and the X-Men barely get a look-in, these days, while the mortals with whom they once enjoyed romantic dalliances  are banished from the summer’s high-impact smasheroos and demolition derbies. The form has entered it’s decadent phase of superhero-on-superhero violence and synergistic mash-up: these guys only mix with other superheroes, like A-list celebrities, or Royals.' — from my Intelligent Life column

Apr 12, 2015

QUOTE of the DAY: Gopnik on Sinatra

'There are, to be sure, at least two Sinatras—the swinging Sinatra and the sad Sinatra—and if one is hostile to the personality (or to the man), then one might insist that they represent the two sides, so to speak, of the Tony Sopranos of the world, the violent and the maudlin. There is no special virtue, in other words, in having access to vulnerability, as Sinatra’s admirers like to say, when it’s simply a kind of self-pity alongside the exercise of violence. What’s fascinating, though, is that both accounts of Sinatra are true: he is the id of the Tony Sopranos of the world, defining their most basic drives (dominance and self-pity), and he is the super-ego of the American male psyche, defining its two most attractive traits: the charm of self-confidence and the melancholy of self-reflection (the same traits we love in Scott Fitzgerald). Sinatra is the American singer; he is the American song.' — Adam Gopnik, The New Yorker

Apr 5, 2015

Best Albums of 2015 So Far

1. Carrie and Lowell — Sufjan Stevens
2. Solo — Nils Framm
3. If I Was — The Staves
4. Kintsugi — Deathcab for Cutie
5. Vestiges and Claws – Jose Gonzalez

Apr 2, 2015

On my iPod: April 2nd 2015

1. Should Have Known Better — Sufjan Stevens
2. America — First Aid Kit
3. Sleepers Beat Theme — Ben Lukas Boysen
4. Ballad of the Mighty — Noel Gallagher's High Flying Birds
5. Waking the Jetstream — The Go! Team
6. Right Here, Right Now — Kylie Minogue & Georgia Moroder
7. Summer Breaking — Mark Ronson
8. With the Ink of a Ghost — Jose Gonzalez
9. Elevator Operator — Courtney Barrett
10. Beryl — Mark Knopfler

ReRELEASE: Blade Runner (dir. Scott)

'If Blade Runner demands to be seen on the big screen today it is as much for its evocation of film’s past as it’s future — it’s achievement is firmly analogue, pre-digital. Here is the vanished world of sets and miniatures, lovingly crafted and photographed through anamorphic lenses which sculpt the space, using all those smog and rain effects, into a series of distinct planes, each with their own depth cues, with none of that over-crammed, slightly flat feeling that the digital paint-box brings: Scott’s city is dense but deep, his sense of space as airy and vaulted as Milton’s. If Blade Runner has a sense of humanity, or any warmth, it is here, I think, in its evocation of the urban sublime. His Los Anegles is to die for. Released just two years after Michael Cimino’s Heavens Gate, and four years after Terence Malick’s Days of Heaven — two titles destined for an afterlife if ever there was one — Blade Runner belongs as firmly with them, as it does The Matrix or Se7en, or any of the dark, rain-drenched dystopias to come. Like the Malick and Cimino films, it tells of an Eden spoiled, paradise lost, just as something very similar was happening to the movies themselves.'  
— from my piece for Intelligent Life


From my piece about Robert Altman for the New Statesman:—
'Here is the Altman way of doing things. First, you get a script,  preferably by a first-timer you’ve drafted into the job, and who is therefore still brimful of curiosity about the world and less likely to complain when you change their script, like Joan Tewkesbury, the script supervisor he dispatched to Tennessee with the words “Go to Nashville and keep a diary.” She returned with a “poem” with 18 speaking parts, which Altman soon bumped up to 24.  “He didn't really cast actors so much as he cast people” said Tewkesbury.   The words “And Introducing” in the credits of M.A.S.H are followed by 20 names, most of them cast after a trip to see an experimental theatre troupe in San Francisco. Movie stars were to be avoided if humanly possible, and if not, then treated like extras. The extras, meanwhile, were treated like stars. “Why can you be more like him?” Altman told Eliott Gould during the shooting of M.A.S.H, pointing to Corey fisher, who played Captain Bandini, meaning: minimal and quirky. Gould flew into a rage and later, along with Donald Sutherland tried to get Altman fired although he later came around to Altman’s way of working. Sutherland never returned... Direct your movie. Actually that’s wrong — “direct” sounds like something school-teachers do to children to get them in a straight line. Step back and let your movie happen, like a sixties art event, or a dinner party, or a conga line. Your actors are your guests. Mike everyone up, using a specially built 8-track recording system, so nobody knows when the camera is on them, dolly and zoom between foreground and background until nobody can tell the difference, then invite everyone to view dailies. Fellini once told Altman they were the true art form — where you got see reality in the rough. “It was like a happening every night” said cinematographer Vilmos Zigmond of the dailies for McCabe, featuring copious amounts of grass, booze, even cats and dogs, animals being a key player in the Altman’s satirical bestiary, like Swift and Rabelais before him: his true quarry, the poor bare forked human animal standing buck-naked in the shower. (See also:— Altman and Nudity). Stop shooting. At some point, someone will tug you gently on the sleeve and tell you you’ve run out of money. Do not panic. Invite your lead actor into your office. Roll a joint. Devise an ending while high as a kite. That was how he and Tim Robbins came up with the ending of The Player, in which Robbins’s executive pitches the movie we have just seen. Strictly speaking it was Robbins’s idea, but Altman told him,  “I’m never giving you credit for that” and quite right too: it was the ending of M.A.S.H. recycled.   Voila! Your very own Robert Altman movie.'

Mar 24, 2015

REVIEW: While We're Young (dir. Baumbach)

'... There are distinct shades of Crimes and Misdemeanours here, in which Woody Allen’s forlorn documentarian had to bite his knuckles while Alan Alda’s bumptious smoothie pontificated loudly on the secret of his success (“tragedy is comedy…plus time”). You couldn’t help but wonder if Allen weren’t, in this pairing, serving up two aspects of his own character —whether the Alda character wasn’t an exaggerated version of his own success, a means of dramatising his own feelings of unworthiness and fraudulence. Baumbach is cut from the same cloth as Allen, unquestionably — the same ambivalent herringbone, cutting first this way, then that, driven by the same truth-telling instinct, close to pedantry, which propels his Eeyoreish donkey-men to soft, inevitable self-defeat.  You suspect they are half in love with it. The terminal passivity of his protagonists is not without its structural problems: his films tend to dribble to a halt, or simply fade away, like a weak handshake. Even “Frances Ha”, much praised for its infusion of nouvelle vague spirit, pooled in the same funk of self-defeat that swallowed “Greenberg” whole, with Greta Gerwig’s heroine flopping from one humiliation to the next. Absent from his work are the usual Hollywood growth curves and third-act catharses.  People do not learn from their mistakes in his films: they keep doggedly betraying themselves. But watching them do so can amount to it's own form of petulance — a lack of charity posing as an absence of illusions' 
— from my review for Intelligent Life 

Mar 15, 2015

Freaking out the fourth wall

“I was worried about the farting,” he says now. “But John Calley, one of the executives at Warner Brothers, said to me, when I asked, ‘Can I punch the shit out of an old lady?’  He said a brilliant thing. He said, ‘If you're going to go up to the bell. Ring it.’” The peals can still be heard. Critics are fond of pointing out that Brooks films ushered in the modern gross-out comedy as we know it — a direct line can be traced from his films to the Naked Gun pictures, to the comedy of Jim Carrey, to the films the Farrelly Brothers and Judd Apatow — but less remarked upon is how irreducibly cinematic Brooks’ films are. The farting gag in Blazing Saddles is essentially a joke about the conventions of the Western, wherein men sit around campfire for hours ingesting beans with nary a parp. And while everyone objected to it individually; en masse, they howled. Brooks films are fourth-wall freak-outs, the butt of his jokes frequently film form itself — tracking shots that go crashing into windows; soundtracks that turn out to be played by the actual Count Basie band, marooned in the desert... his comedy is infantile in every sense of the word. His characters cry and storm and suck on their blankets, driven by their unappeasable bodies and insatiable appetites for money, love, succor, comfort. They claw for the teat.'

— from my interview with Mel Brooks for The Sunday Times  

Mar 14, 2015


'One of the great benefits of digital consumption is that it is democratic: In cyberspace, there's nobody to judge you. If this 57-year-old wants to hear what Joey Badass sounds like, I don't have to run the gauntlet of incredulous stares in cool record stores: There! I'm listening to Paper Trails as we speak! And yet part of the point of culture is that it allows us to demonstrate our tastes publicly — it helps us find our tribe. (Thanks, Joey, but I'm going back to the new Valentinos compilation.) The arts are the most elaborate and most precise social network ever invented, but if it's going to work properly, you have to get out of the house sometimes and show who you are and what you love. You have to go to shows and galleries and bookstores, you have to ask for what you want out loud. And this expression of taste must involve an impulse that, at its heart, is anti-democratic: Somewhere you have to believe that what you like is better than what all those other losers like.'  
Nick Hornby writing for the Hollywood Reporter on the possibility of a High Fidelity sequel

Mar 10, 2015

QUOTE OF THE DAY: Raine on Degas

'Here are some chairs I noticed. An empty chair at the natural optical centre of Degas’s Dance Foyer of the Opera at rue le Peletier (1872), occupied by a fan and a puddle of white cloth. It is waiting – and the viewer is waiting, subliminally – for its occupant to return and claim the fan. It is reserved. Someone has bagged it. Not a circumstance you often see painted, though common enough in real life. Nor is the violinist playing. He is pausing, his bow at rest on his trouser leg. Degas has painted a pause. A thing that hasn’t been painted before.' — from Craig Raine's review of Inventing Impressionism for the New Statesman

Alfred Hitchcock's 'White Album'

'... This tendency to praise Hitchcock for his flaws is most evident when it comes to Vertigo, a fulminous cloudscape boasting the most unsatisfactory ending of the director’s career yet “so purely a movie – so purely involved in what movies do — that we can almost let the plot go,” writes Wood. “It doesn't get lost. But it mimes the lostness of characters caught between conspiracy and desire, between sobriety and fascination.” This is an elegantly executed dive from the high-board, even if it sounds like an ad for a new fragrance ("between conspiracy and desire, between sobriety and fascination... Eau de Alfred"), and doesn’t shake one’s suspicion that Vertigo is the Hitchcock movie for those who, above all, wish the director had been French, in the same way that the White Album is the Beatles album for those who most wish they had instead been The Doors. Adapted from a French potboiler by the author of Henri-Georges Clouzet’s Les Diabolique, to which it was a direct response, the film is a maze with no exit, lots of wandering, looking, longing, and virtually no jokes. Which is not to say that it isn’t the also most wrenching of his works — if ever a film was meant to find a second life, it is this one, with its plot involving possible reincarnation, and a love story which pushes Hitchcock’s pygmalionism to its heartbroken conclusion. But excessive praise for it is something of a backhanded compliment to the rest of the oeuvre, as if Hitchcock’s fingers had first to be prized loose from the cookie jar of narrative before he could be rewarded.'
— from my review of Michael Wood's Alfred Hitchcock: The Man Who Knew Too Much for Intelligent Life

Mar 6, 2015

REVIEW: Still Alice (dir. Glatzer / Westmoreland)

'There’s always seemed something masklike about Julianne Moore’s face: she seems walled in by her beauty. When she smiles, the only thing that moves is her mouth; that superb fenderwork of bone remains as impassive as a sphinx. This very inexpressiveness gives her of an air of trapped intelligence which she used to great effect in the early part of her career playing a string of numbed out beauties— her coked-up porn actress in Boogie Nights; her neurasthenic housewives in Safe and Far From Heaven, all dying behind the eyes. More recently she has cut loose to channel something of Diane Keaton’s jangled-nerve comedy in The Kids Are Alright, in which her performance was a revelation: Moore has never been so loose or so funny. In Still Alice, she plays a victim on early-onset Alzheimer’s and you can see why they gave her an Oscar for it. It’s like watching a career retrospective only in reverse: come see the more radiant, vivacious Julianne Moore of late regress into one of her early pathos-of-emptiness roles.'  
— from my review of Still Alice for The Spectator

Mar 3, 2015

Most Anticipated Films of 2015

Hail Caesar (Universal) — dir. Joel and Ethan Coen w/ Josh Brolin, George Clooney, Channing Tatum, Tilda Swinton, Ralph Fiennes, Jonah Hill  
Star Wars: The Force Awakens — Abrams (Dec) 
St James Place — dir. Spielberg  w/  Tom HanksMark Rylance, Amy Ryan, Alan Alda, Billy Magnussen, Eve Hewson. (Touchstone/DreamWorks /20th Century Fox)  
Spotlight —Thomas McCarthy, Mark Ruffalo, Rachel McAdams, Brian d'Arcy James, Michael Keaton, Stanley Tucci, Liev Schreiber, Billy Crudup, and John Slattery 
The Hateful Eight — Quentin Tarantino, Samuel L. Jackson, Bruce Dern, Jennifer Jason Leigh, Walton Goggins, Tim Roth, Michael Madsen, Demián Bichir, and Kurt Russell (Weinstein Co.)  
Midnight Special — Jeff Nichols, Michael Shannon, Kirsten Dunst, Adam Driver, and Joel Edgerton (Warner Bros.)   
Crimson Peak — dir. del Toro w/ Chastain (Oct 16th)
Far from the Madding Crowd dir. Thomas Vinterberg w. Mulligan (May 1)  
Trumbo — Jay Roach, Bryan Cranston, Diane Lane, Elle Fanning, Louis C.K., Helen Mirren, and John Goodman (Bleecker Street)  
Brooklyn — Nick Hornby, directed by John Crowley and starring Domhnall Gleeson and Saoirse Ronan ( Fox Searchlight)  
Trainwreck dir. Judd Apatow (July 17) 
 The Martian (dir. Ridley Scott, November 25)
Joy dir. David O. Russell w/  Jennifer Lawrence, Robert De Niro, Bradley Cooper, and Édgar Ramirez.  (20th Century Fox, 12/25)  
Triple Nine — John Hillcoat, Woody Harrelson, Kate Winslet, Aaron Paul, Norman Reedus, Chiwetel Ejiofor, Casey Affleck, Chris Allen, and Anthony Mackie. (Open Road)  
Our Brand is Crisis (Warner Bros.) — dir. David Gordon Green‘s with Sandra Bullock, Scoot McNairy, Billy Bob Thornton, Anthony Mackieand Ann Dowd
Beasts of No Nation — dir.  Fukunaga w / Elba   
Everest (Universal) — dir. Baltasar Kormákur w/ Jake Gyllenhaal, Josh Brolin, Jason Clarke, John Hawkes, Sam Worthington, Keira Knightley, Robin Wright 
That's What I'm Talking About — dir. Linklater   
Life (no distributor) — dir.  Anton Corbijn w/ Robert Pattinson Dane DeHaan  Ben Kingsley, Joel Edgerton 
 The Revenant (20th Century Fox) — dir.  Alejandro González Inarritu (director/screenplay) w/ Leonardo DiCaprio, Tom Hardy, Will Poulter, Domhnall Gleeson  
Hughes — dir  Beatty, w/ Alden Ehrenreich, Lily Collins, Matthew Broderick, Annette Bening, Alec Baldwin, Martin Sheen and Candice Bergen    
Triple Nine — dir. Hillcoat w/ Winslet, Harrelson, Ejiofor, Affleck (Sept 9th)
Carol (Weinstein Co.) — dir. Todd Haynes w/ Cate Blanchett, Rooney Mara, Sarah Paulson, Kyle Chandler   
Silence — Martin Scorsese,  Liam Neeson, Andrew Garfield, Issei Ogata, Adam Driver, and Tadanobu Asano. (Paramount)  
Ricki and the Flash — dir. Demme — w/ Streep (Aug 7th) 
Icon — Stephen Frears,  Ben Foster, Lee Pace, and Chris O'Dowd. (Working Title, no US distributor) 
Sea of Trees (no distributor) — dir. Gus Van Sant w/ Matthew McConaughey, Ken Watanabe, Naomi Watts, Katie Aselton, Jordan Gavaris 
Knight of Cups (no distributor) — dir. Terrence Malick w/ Christian Bale, Cate Blanchett, Natalie Portman, Brian Dennehy, Antonio Banderas, Freida Pinto, Wes Bentley, Isabel Lucas, Teresa Palmer
Queen of the Desert dir. Werner Herzog w/  Nicole Kidman, Robert Pattinson, Damian Lewis and James Franco.  
Grandma — Weitz, Tomlin 
Me and Earl and the Dying Girl Thomas Mann and RC Cyler  
Mistress America Greta Gerwig, Noah Baumbach (Fox  Searchlight) 
The Diary of a Teenage Girl Marielle Heller, Bel Powley, Kristin Wiig and Alexander Skarsgard (Sony Pictures Classics) 
The End of the Tour — James Ponsoldt, Jason Segel and Jesse Eisenberg (A24) 
Luca Guadagnino's A Bigger Splash — starring Matthias Schoenaerts, Tilda Swinton, Ralph Fiennes, and Dakota Johnson (Fox Searchlight)  
Jean-Marc Vallee's Demolition, starring Jake Gyllenhaal, Naomi Watts, and Chris Cooper  (Fox Searchlight) 
Woody Allen's Irrational Man  starring Joaquin Phoenix, Parker Posey, Emma Stone, and Jamie Blackley (Sony Pictures Classics) 
Brian Helgeland's Legend starring Tom Hardy as the Kray twins and Emily Browning. (Working Title, Universal) 
Justin Kurtzel's Macbeth starring Michael Fassbender and Marion Cotillard (The Weinstein Co.) 
Alejandro Amenábar's Regression starring Ethan Hawke, Emma Watson, and David Dencik. (The Weinstein Company) 
Stephen Daldry's Trash starring Rooney Mara and Martin Sheen. (Working Title, Focus Features)   
Robert Zemeckis's The Walk — starring Joseph Gordon-Levitt, Ben Kingsley, James Badge Dale and Charlotte Le Bon. (Sony/TriStar, 10.2)