Category: DVD & Digital
Reviews of the latest UK DVD & Digital releases.
DVD review: Filth
Scripts have been scrunched up and chucked away from previous efforts to adapt Irvine Welsh’s ‘Filth’, all supposedly unbefitting of the desired quality and charm. That was, until writer and director Jon S. Baird pitched up with as much passion for the novel as Danny Boyle and John Hodge had for Trainspotting when they developed it for the big screen nearly twenty years ago. Baird’s interpretation is both loyal to the book yet takes Detective Sergeant Bruce Robertson’s tragic journey in a fresh, but strange new direction. Bruce (James McAvoy) has his beady eye on a promotion in the force and will stop at nothing to put himself in pole position ahead of his competitors. When a Japanese student is killed in one of Edinburgh’s most grimy underpasses, he is placed in charge of the murder investigation, but his deep psychological issues soon begin to scupper his plans as his state of mind spirals wildly out of control.
Handpicking elements from the novel, we are thrust into various subplots straight from the off, from colleague mind games to wicked prank calls to his friend Bladesey’s wife, and the narrative quickly becomes as incoherent as the protagonist’s control obsessed lifestyle. Bruce is a nasty piece of work: a racist, homophobic, alcoholic, drug-addicted, misogynistic mess, yet his story is not without moments of empathy. Welsh’s dark humour is smeared all over the reel, his trademark sick wit is forever present, and the sense of setting is perfect, capturing the festive season in Scotland’s capital very aptly, so much so that you can almost feel the chill as Robbo roams the grey cobbled streets of the Old Town. Most impressive is how Baird handled the complexities of (Bruce’s inner trauma tapeworm, which appears on paper as a bold intrusion streaking through the page, but is cinematically transformed into trippy doctor visits displaying a great understanding of the storytelling tool). This surreal gloss clogs the arteries of the film increasingly throughout, providing a gruelling, yet at times terribly funny, depiction of a man’s physical and mental decline.
With a host of characters squeezed into the running time, some giving no more than brief cameos, the majority of the all star cast weren’t given much of an opportunity to stand out and be noticed. Eddie Marsan again flaunts his admirable versatility as the nervous bumbling Clifford Blades, known affectionately as Brother Blades to Bruce. Shirley Henderson is also a lot of fun as his feisty missus Bunty. Other notable turns come from Jim Broadbent as Dr. Rossi and Jamie Bell as young cocaine snorting police officer Ray Lennox whose character was the key to Welsh’s spin-off Crime. This would also be intriguing to see on the big screen, allowing time for the character to unfold a little more. Despite an acclaimed supporting ensemble, nobody comes close to the show stopping James McAvoy’s in what is the performance of his career in a role he was born to play.
McAvoy epitomises Bruce, encapsulating the sheer weight of the character and all the layers involved. Physically, he is pasty and bloated having gained weight for the role. His unkempt face sports ginger fuzz and his hair is smeared back in as much grease as it takes to deep fry a Mars Bar. In the past, rooting back to his Shameless days, I’ve always found McAvoy likeable but unobtrusive, never in a part that offers that little extra and slaps you across the face. As Bruce Robertson, he slaps you, trips you up and kicks you until you cry, before spitting at you when you’re down. I cannot imagine anyone else doing a better job. Not only is to utterly repulsive, he also manages to achieve an air of mercy and understanding that I believe would be unthinkable from most other actors out there today.
Where Trainspotting gave us a grubby little junkie pocket of the mid-nineties with its iconic soundtrack, and Boyle’s product placement, ‘Filth’ on the other hand is timeless. It is a dirty portrait of a man desperately trying to rebuild his life and put his sinister past behind him. This is ever relevant in any time period, and is a magnificent piece of work, due to the hard hitting script expected of any Irvine Welsh variation, and a remarkable James McAvoy acting masterclass. Outlandish themes aplenty, Baird carries them off with ease, given this is only his second feature film, tackling the tough subject matter with aplomb. Fifteen years after the book was first published, this is a story well worth digging up again, but you will be scraping the filth from under your finger nails for a long long time.
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DVD review: Spring Breakers
A wild coming-of-age tale, which follows four teenage girls on a spring break trip, escaping their mundane lives for ‘fun in the sun’. Less good girls gone bad, and more bad girls gone worse as a calculated fast food restaurant robbery helps fund the journey to Florida where they meet metal mouthed gangster rapper Alien, strangely played by usual nice guy James Franco. With bold imagery and continuing contradictions throughout a muddled, drug fuelled story, ‘Spring Breakers’ is like nothing else you will see on the big screen all year.
Visually, this film is impeccable, scenes coated in a sweet candy floss gloss, brilliantly clashing with the gruesome subject matter. Like the promotional posters, fluorescent colouring assists in attention grabbing, the party montages play like a Disney porno, distorting expectations and shattering illusions, though by the end, the repetition becomes seedy, lacking the initial impact of the opening sequence. You have to question the morals of the 40 year old director Harmony Korine slightly, with full frontal nudity and bikini shots used very loosely, though his wife does co-star as Cotty. As plots go, not a lot happens here, and there is a dip in the story midway through, which actually becomes a little boring and with Franco’s Alien creepily repeating ‘look at my shit’, and ‘spring break’, and uttering the words ‘Scarface on repeat!’, the script could’ve been written by a ten year old who’s just learnt his first swear words, experiencing his first dirty rag. Though the dialogue doesn’t have to be tip top when the aesthetics are so pleasing on the eye, especially in stand out scene, juxtaposing Alien on piano, crooning to Britney Spears’ ‘Everytime’ whilst his girls rock bikinis and balaclavas, sexually toying with his arsenal.
James Franco is a strange choice to play power hungry ego-maniacal Alien. A double bill Franco weekend combining this with ‘Oz’ would certainly show you both sides of his coin. He is obviously enjoying himself, talking the talk, but it is difficult to take him seriously in a villainous role, except in his shades-on scenes where he is near unrecognisable. The casting is clever all over, with High School Musical’s Vanessa Hudgens as Candy, who I thought was the best of the four, shaking off preconceptions and delivering immensely. Child star Selena Gomez is also very good, as the religious ‘sensible one’, shying away from the criminal antics of her peers, though still allowing herself to be led astray.
It will be criticised and will no doubt garner complaints, with teen idols portrayed in an entirely different way, earning the 18 certificate, but as a piece of filmmaking, it is refreshing cinema. The opening segment establishes the girls well, making what is to come all the more shocking. The phonecalls home to parents extenuate this theme, following through on the contradiction. The cast handle themselves well in a plot which seems to have taken as much illegal substances as the characters, and for a film that does sadly lack substance, it certainly has a hell of a lot of style.
DVD review: Rush
The 1976 Formula One season saw the simmering rivalry between lothario James Hunt and the disciplined tactician Niki Lauda reach its gripping conclusion and the fascinating true story now has its deserved cinematic adaptation, directed by the acclaimed Ron Howard. ‘Rush’ tracks their bitter clash of personalities on and off the grid, from when they first met as amateurs but focuses its attention on the season in which they both had to endure personal hurdles in their determined battle to the top. James Hunt (Chris Hemsworth) juggles his playboy lifestyle with his racing ambition whereas Niki Lauda (Daniel Bruhl) is forced to overcome severe personal trauma in his plight to succeed, both paths hurtling towards the finish line in this gloriously tense biopic of two of the sport’s most memorable figures.
The race sequences are extremely well put together, the vintage cars giving a brilliant sense of authenticity, accompanied by an orchestral score composed expertly by the veteran Hans Zimmer, bringing audiences to the edge of their seats even if they know the outcome. The film starts at the suspenseful build up to the fateful German Grand Prix with an establishing voiceover from Lauda then jumps back six years to tell the story from the beginning, which is a rare misstep plot-wise, making it a rather long six years to wait to get back to where you want to be. Aside from this diversion, the structure remains traditionally chronological. From there, we get the 007-esque introduction of Hunt, James Hunt as he smugly seduces us with his charm, enjoying women, cigars and champagne in excess. His character arc, fun as it is to watch, is much less interesting than that of Niki Lauda who we see disregarding his family history for a career in motor sport. The scenes they share are very strong, the script excelling with believable fighting talk passed between the two, trading verbal blows, helping to create a compelling screen chemistry early on which continues to soar until the final moments.
When the narrative, which by all accounts is said to be incredibly accurate, finally returns to Nurburgring, the stage is set for a rainy encounter. Lauda, who calculates risk by the percentage, thinks the wet surface is unsafe and dangerous to drive on. A vote takes place to see whether or not the race will go ahead and Hunt’s popularity sways the decision in his favour leading to a horrific incident which propels the film forward taking an interesting turn. Hospital scenes following the crash are magnificently done, the medical staff surrounding the damaged frame in the bed reminiscent of a team of engineers repairing a car, dehumanising the driver in what could be seen as an extended pit stop in the season. This creative approach of comparing man to machine, emphasises the mechanical methods of being the best and stopping at nothing, not even a near death experience, to achieve greatness.
The performances of Hemsworth and Bruhl are colossal, highlighted by use of archive footage of Hunt and Lauda, showing the uncanny likeness between the drivers and the fictional counterparts. Hemsworth seems confident in the role of the cocky womaniser, and what initially comes across as arrogance quickly becomes likeable as the back-story and his relationship with Lauda develops, though I am unsure why Olivia Wilde was needed for the part of his wife Suzy Miller. The character was underused, presented as a glamour piece with no real acting required. Alexandra Maria Lara has a lot more to do as Lauda’s other half Marlene Knaus and their blooming romance is genuinely touching. Bruhl, for me impresses the most as Lauda, his accent and mannerisms are spot on, and he really makes you root for his character who on the surface has a lot less appeal than the charismatic Hunt.
‘Rush’ avoids the Hollywood standard, refusing to categorise a hero and villain, but giving us two very real endearing characters who each have flaws but possess tough competitive qualities and have a visibly mutual respect for one another. This is certainly not just one for the Formula One fans, but is a very human story about two extraordinary individuals that is impossible not be completely drawn in by. An exhilarating thrill ride that can appeal to anyone that has ever wanted to win, and this film wins by a margin, taking its victory lap in style.
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DVD review: What Maisie Knew
A modern adaptation of the Henry James novel of the same name, which looks at the break up of a dysfunctional relationship through the perspective of their neglected young daughter. Julianne Moore and Steve Coogan star as rowing rich couple Susanna and Beale, an ageing rocker and wheeler art dealer respectively, going through a turbulent marriage where their six year old girl Maisie (Onata Aprile) is used as a bargaining chip, passed from pillar to post. She only finds occasional solace through nanny turned stepmother Margo, expertly portrayed by Joanna Vanderham, and surprisingly also with Lincoln (Alexander Skarsgård) who Susanna marries soon after the divorce in a selfish ploy for sole custody. Directed by Scott McGehee and David Siegel, ‘What Maisie Knew’ is beautifully made, full of top drawer performances, great humour and has a heart wrenchingly touching narrative.
Maisie’s isolation is shown effectively through the cinematography, by putting her petite figure in gaping wide shots, a microcosm highlighting her minor significance in the sensationalist lifestyles of her parents. Also, when holding hands with a grown up, we, as the audience, are continuously placed at Maisie’s head height, the faces of her elders often left unseen, illustrating the flimsy nature of her upbringing and letting us into her world. This is a recurring theme, the story allowing us into Maisie’s way of life, through use of neat close ups of her drawings, toys and games of tic-tac-toe, but not shying away from her inner trauma, the built up sadness and torment expressed perfectly in a memorable scene with one single tear. There are zoom fixations on Susanna and Beale, as if the camera represents her gaze and what makes her tale so heartbreaking is that she clearly adores her parents yet her love is unrequited. There are one or two tender moments in which we see that she may well be loved by her mum and dad, but not in the right way.
What aids this success are the magnificent performances from all concerned. Veterans Moore and Coogan are both great in the parenting roles. We see a lot more of Moore’s reckless rock mum which she has down to a tee but Coogan is equally effective in a very Coogan-esque smug but funny role. As with all the actors, they excel in scenes with the amazing Onata Aprile. With shades of Mara Wilson in Matilda, Aprile is impeccable in the titular role. Co-star Vanderham stated that even when Aprile is in neutral mode, her facial expression suggests sadness which works brilliantly, giving off an effortless aura. She not only plays sadness well, she brings a lot of humour, delivering excellent observations on the people around her. Scenes at the school really help to offer a nostalgia of childlike humour, in particular in a hilarious moment when she introduces her new step dad Lincoln to her class like a show-and-tell piece. Vanderham and Skarsgård are really good and their characters are also mistreated and used by Maisie’s parents and through this neglect they form a bond with Maisie.
I have nothing but praise for ‘What Maisie Knew’, and was instantly drawn into the story and the likeable, and relatable characters. Onata Aprile steals the show, evoking a hugely emotional response and the clever direction and camera work links us to her viewpoint. It is interesting to see a feuding break-up film through the eyes of the child, who is inevitably affected the most, their outlook deserving of its showcase. Last year, nine year old Quvenzhané Wallis was showered with award nominations for her work in Beasts of the Southern Wild, showing young stars can now be recognised in the same way as adult actors. It is easy to fall into the trap of saying she was amazing ‘for her age’ but she was incredible for any age and makes this film a faultless masterpiece.
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DVD review: Searching for Sugar Man
The Academy Award winning documentary ‘Searching For Sugar Man’ looks at the mysterious circumstances in which singer songwriter Sixto Rodriguez rose to fame in South Africa without knowing, and without reaping any of the benefits. Written and directed by Malik Bendjelloul, it explores two mega fans of Rodriguez, who join forces to solve the case, with the incredible tale told mostly through talking heads interwoven with the soulful songs of Rodriguez, crooning over Dylan-esque guitar melodies and sticking it to the man.
When he released his albums Cold Fact and Coming from Reality in 1971 and 1972 respectively, for some unknown reason, nobody in American cared enough to support him and the record sales were near non-existent, but years later the album and his powerful words found their audience in South Africa, during apartheid. It was said that his album was so well received, it could be found in nearly ever white home in SA, alongside Abbey Road and Bridge Over Troubled Water. Yet because of this, it was assumed Rodriguez was also a success across the Atlantic when in fact, he was far from it. It raises many questions of the music industry and the darkly selfish nature of it. It is astonishing to think that while his albums were playing to thousands on the radio in South Africa, he was none the wiser, working long hours in construction to provide for his family.
Bendjelloul’s low budget direction has the same charm as much of Rodriguez’s music, the audio and visuals blending harmoniously, but it has been suggested he has made some embellishments and omissions in order to create a more presentable story. Whether this is the case or not has no significance for me, and I thoroughly enjoyed how it was pieced together, with great suspense in leading up to the screen introduction of Sixto himself. The interviews with his three daughters are particularly moving when he goes onto receive the recognition he had deserved for his work decades before. His music was a godsend to his dedicated supporters during their nation’s battle for equality, and this emotive account captures that sense of adoration. The captivating true story is translated to cinematic scale, showcasing his talent to all who care to embrace it, and putting the mystery of the financial gains to one side, serving as a celebration of a talent which was so nearly lost.
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DVD review: The Act of Killing
‘The Act of Killing’ is a brutal investigation into the genocide which took place in 1965 Indonesia after President Sukarno was overthrown to be replaced by Suharto. Those who refused to conform to the new political agenda were branded communists and massacred. Director Joshua Oppenheimer pushes the boundaries of factual filmmaking asking questions of gangsters Anwar Congo and Adi Zulkadry who killed masses of innocent people without conscience or consequence and are heralded as national heroes today.
Initially, the aim was to create a piece in which he would speak to the ancestors of the so-called communist victims but the government put paid to his plans. Instead, he speaks to the men who carried out the killing spree, who horrifically speak openly and proudly, talking through their methods of murder in grim detail. They continually attempt to justify their actions, translating the term gangster as ‘free man’ twisting the semantics to give a reason behind what they have done. This idea is repeated with a warped version of the song ‘Born Free’ used later over a waterfall backdrop with celebrated figures singing along gleefully, where we also see a man representing the spirit of the victims, removing the wire used to choke him to death and thanking Congo for killing him and sending him to heaven, placing a medal around his neck to glorify his actions.
Oppenheimer asks the pair to re-enact their callous acts and encourages them to make a film about it and they duly accept this proposition. Anwar shows no remorse initially, boasting about his idea to strangle victims with wire to prevent the heavy bloodshed of his past approach. He is now a leader in a right wing organisation Permuda Pancasila, full of powerful key figures from the death squads who have shockingly gone unpunished. Instead of the film becoming a history lesson, it offers background but decides to focus its energy on the psyches of Congo and Zulkadry to explore them as individuals searching for signs of mercy and forcing them to recognise the horror of their pasts.
Werner Herzog took an executive producer role and showered the piece heavily with praise. He said “I have not seen a film as powerful, surreal, and frightening in at least a decade… it is unprecedented in the history of cinema.” It is certainly brave filmmaking, directed with the unfaltering sense of exploration of Michael Moore or Louis Theroux, tackling the harrowing subject head on. It is not for the fainthearted, and makes for uncomfortable viewing nearly all the way through, but is handled expertly and definitely sheds light on the struggles of an extremely troubled nation.
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DVD review: Elysium
After the success of District 9, advert-maker turned filmmaker Neill Blomkamp is back with sci-fi action thriller ‘Elysium’, starring Matt Damon and Jodie Foster. Set over a century in the future, or 2154 to be precise, Earth is a diseased and overpopulated wasteland. The rich and fabulous have upped and left to a new planet which resembles a halo in the sky called Elysium with strict regulations and a med bay in every beautiful home, healing inhabitants of any illness or injury. Max Da Costa (Damon) is a former car thief gone straight working in a droid manufacturing plant within the ruins of Los Angeles. After an industrial accident exposes him to a lethal dose of radiation, leaving him with just five days to live, he is forced to come up with a plan of action to reach Elysium to cure himself, bringing him up against the severe Elysian Secretary of Defence, Jessica Delacourt (Foster) who will stop at nothing to prevent this.
Although set in a science fiction environment, it can be argued that Elysium represents an exaggeration of the state of the world in the present day, highlighting the class system and the gaping divides between the lifestyles of the rich and poor. Director Blomkamp has spoken about this viewpoint, stating that the film is less of a prediction of the future and more an ‘allegory about wealth discrepancy’. It is refreshing to see a cinematic tackle on such current issues, and it has been done exceptionally by a relatively inexperienced filmmaker. To explore an idea in a unique way, building from a strong opening and developing the plot impressively, there is a lot to admire here and the fight sequences towards the end are colossal, particularly between Max and Delacourt’s sadistic mercenary Kruger, who is an effective villain, brilliantly portrayed by Sharlto Copley who starred in the aforementioned District 9. His wicked exterior and thick South African accent make him one of the most watchable baddies of the year so far. The commercial background is clear in the striking aesthetics of the picture, taking notable influence from previous sci-fi blockbusters, Damon appearing a cool but twisted modern interpretation of Terminator after being fitted with a body brace known as an exoskeleton to increase his strength. With so much focus towards the visuals, which are worthy of seeing on the big screen, the script falters a little with the dialogue coming across stilted occasionally, though this is a minor criticism within so many positives.
Matt Damon is sublime in the lead role, and has won me over with what I would boldly claim is one of the best performances of his career. I was yet to be convinced of his star quality, putting his Bourne trilogy down as a poor mans Bond, and I remain unmoved by the majority of his work. I’ve never quite been able to root for him until now, and surprisingly found myself on the edge of my seat, egging him on in the final showdown as if it was a Rocky Balboa bout. His everyman attitude worked perfectly for the role, and the relationship with childhood friend Frey (Alice Braga) was touching and believable. Jodie Foster has a return to form as the cold power hungry Delacourt, a role that feels as though it could have been written for Foster’s ice queen demeanour. I should mention Wagner Moura who is an exciting presence as gangster hacker Spider who tries to illegally smuggle people from Earth up to the haven of immortality, and who Max looks to for help in his time of need. William Fichtner and Diego Luna also make an impact in their smaller supporting roles.
In bringing his bold theories to the big screen in exceptional fashion, could Blomkamp be an auteur in the making? He certainly has an eye for design as the picture is magnificently pleasing on the eye, and he appears to know how to get the best out of his stars. Whether that is due to enforcing his vision or letting them get on with it, I am not so sure but either way he has managed to create a Matt Damon character that I got on board with so I am grateful for that if nothing else. With stunning CGI, an interesting premise and a menacing villain on top, ‘Elysium’ was without a doubt my blockbuster of summer 2013.
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DVD review: One Direction: This is Us 3D
Morgan Spurlock has been associated with controversy in the past, no stranger to tackling hot topics like the US obesity epidemic and Al-Qaeda, so his latest project came as a bit of a surprise. When it was announced he would be in the director’s chair for ‘One Direction: This Is Us 3D’, you wouldn’t be alone in thinking he would open our eyes to a different, maybe darker, side to the world’s biggest boy band, going deep beneath their glossy exterior. Instead of his usual exploratory mindset going to extremes with his subject matter, he takes a step back going fully behind the camera to portray the famous five as likeable, hard working lads taking their massively lucky break in their stride.
Heavily produced by Simon Cowell’s Syco Entertainment, perhaps there was a hint of restriction in place when it came to the what could be shown and which footage should be cut and shuffled away, never to see the light of day. Cowell himself has a talking head part where he sits smug behind an executive table, taking all the plaudits for the manufacture of the group and their worldwide success. Other guest appearances come unexpectedly from Chris Rock and Martin Scorsese, both in attendance at their colossal Madison Square Garden concert, signifying their breakthrough across the Atlantic.
In justifying his career choice to venture into music documentary film-making, Spurlock explained that the huge budget and use of 3D drew him to the piece and after unsuccessful attempts at helming the Justin Bieber and Katy Perry tour docs, he finally has his chance to play around and experiment with the capabilities of extra dimensions. The gig recording is fun, and the songs have catchy pop choruses but in terms of camera work, it goes as expected bar a scattering of flashy graphics and one coolly executed effect which transforms each of the boys into action hero figures in primary colours. A few of the lesser known tracks tend to drag, and the behind the scenes sections are far more engaging. During the gaps in between the all singing all dancing concert footage, we follow the gang on their world tour and look back at their humble beginnings, where their parents deliver heartfelt messages on how their lives have changed since One Direction’s X-Factor journey and we bear witness to the chummy camaraderie between the fivesome as they express their individual personalities, play youthful pranks and thank the obsessively dedicated fan base they possess, who stalk them around the globe like blood thirsty zombies.
This Is Us gives a brief insight into life on the road for a group of youngsters experiencing the closest superstardom to Beatlemania and kept my attention throughout but unfortunately does so without delving into too much detail, which goes against the trademarks of the director. For the hordes of adoring fans, or the Directioners as I believe they like to be known as, this serves as a perfect slice of pop propaganda and will sit nicely in DVD cases stacked from floor to ceiling in the ever-growing string of 1D World stores across the planet.
Cinema Perspective 