Teenager Suzu (Kaho Nakamura) enters the virtual reality world of U, where she quickly becomes a world famous singer, however her interest lies in a dark and destructive figure known as The Dragon (Takeru Satoh).
“You can’t start over in reality, but you can start over in U” – it’s this core tagline which acts as a core turning point for quiet, anxious teenager Suzu (Kaho Nakamura). She dons the technology to transport her body to that of a virtual reality figure designed after herself and her personality and is plunged into U; a world of towering buildings and thousands of floating figures, apparently a population of two billion overall. While initially unsure of what to do in this detailed, seemingly endless, landscape she eventually does the thing which comes most naturally to her, sing. It’s something she hasn’t done for years, having not done so since her mother passed away a number of years ago, ever since her relationship with her father (Kōji Yakusho) has been distant, the same going for those she has, or rather doesn’t have, at school – aside from her tech-minded best friend Hiroka (Lilas Ikuta).
While initially her singing appears to be a disturbance to other players in the VR realm Suzu becomes an overnight sensation, her avatar Bell gaining millions of followers within a matter of hours. Gradually the film, the latest from writer-director Mamoru Hosoda, begins to look at the various effects of Bell’s impact on both the online sphere, and Suzu’s life in reality. Brief moments look at the masses of comments that pour in showing potential overload and Suzu’s increased stresses in life. However, none of that takes priority over her and Hiroka’s quest into discovering who the mysterious player known as The Dragon (Takeru Satoh) is. A dark, towering figure who disrupts the peace and harmony within U. The search is conducted both worlds and takes a different form within each. While based in reality there’s a more direct line of research and potential ‘suspects’, however when actually facing the labelled beast herself there’s something of an acknowledged Beauty And The Beast narrative unfolding.
Amongst all of this there are still elements of Suzu’s personal life to be glimpsed. The way she interacts with classmates, leading to one or two particularly humorous instances, also comes to the fore at certain points. There aren’t exactly beats and narrative strands fighting for prominence throughout the film. It feels more the case that as one thing comes forward everything else is almost put on pause, taking turns to develop, rarely all happening at the same time. With the story/ stories unfolding in this way the effect is that of a slightly lengthier run-time than perhaps the film should have. While clocking in at only just over two hours the third act begins to feel as if it tails off from the film and you begin to feel a sense of distance from the film as a whole. Moments that should have more impact don’t fully click after the various patches and changes over the developing course of the piece.
While the animation is still wonderful and truly comes to life on the big screen, the mixture of traditional anime and CG for the world of U is excellently done and adds to the vibrant colour of the worlds at play, especially when Suzu/ Bell is performing (the songs throughout are pretty great), it’s not quite enough to distract from the nearly sprawling narrative. The beauty and the beast elements feel the most pushed back and certainly feel rushed when it finally comes to them, as if a minor detail there to progress things elsewhere/ It’s inclusion causes the second half overall to feel somewhat drawn out, despite the interesting unfolding of events and details in the real world.
There’s certainly a cleverness to the film as a whole and the way it goes about certain elements and strands, both in terms of representing the online, virtual reality world and also some well-handled points within Suzu’s reality, and some of the people around her. However. as it goes on the feeling that the film is slipping into convention increases and it becomes rather familiar as it travels along its various paths. It’s a shame for something which starts out as something so unique and with plenty of potential. What we get is something visually brilliant, and with plenty of good music too, but requiring a stronger narrative structure to properly pull it through to the end of the piece and the viewer along with it.
While strong in terms of visuals and music Belle begins to slip into convention with its stop-start set of narrative strands. It’s certainly interesting and you can feel the creativity, the story could just do with some tightening up.
Cert – 12, Run-time – 2 hours 10 minutes, Director – Roland Emmerich
When the Moon is revealed to have gone out of orbit, getting closer to the Earth, a disgraced astronaut (Patrick Wilson), the deputy director of NASA (Halle Berry) and a conspiracy theorist (John Bradley) are sent to discover the force behind this planet-threatening occurrence.
Moonfall. The Moon is falling. Out of orbit it’s threatening to crash into the Earth’s atmosphere, breaking to pieces and destroying the planet along with it. It’s a rather ridiculous disaster movie idea, one that fits the title Moonfall rather well. And yet, co-writer (alongside Harold Kloser and Spenser Cohen) and director Roland Emmerich manages to walk a line away from direct silliness through most of the two hour and ten minute run-time of his latest disaster flick. It’s not that the entire film is thoroughly serious, it acknowledges just what its tone is and there’s a fair deal of comic relief to be found within the effective figure of conspiracy theorist KC Houseman (John Bradley). It’s he who makes one of the initial discoveries, altering the world to the fact, that the moon is rapidly getting closer to the Earth.
However, when nobody is prepared to listen to the man who not only owns a cat called Fuzz Aldrin (an excellent joke!) but believes that the Moon is actually an alien megastructure he attempts to enlist the help of disgraced former astronaut Brian Harper (Patrick Wilson). Trying to deal with his own personal problems; amidst the likely end of the world, including his teenage son (Charlie Plummer) potentially facing prison time for car theft and speeding in a highway chase with the police. However, the two eventually find themselves recruited by NASA, and Brian’s former colleague Jocinda Fowler (Halle Berry); who was on the same mission that led the world to be told that Brian led to the death of another astronaut at the time, and not a mysterious space force, to find out just what is happening to the moon.
It’s of course an unlikely team that manages to click rather well within the confines of the space shuttle and the disaster film as a whole. There’s plenty of build-up but generally things move along rather well before we actually reach the point where the trio meet fully for the first time. Throughout tidal waves and increasing disasters there’s plenty of thrills to be found within the action that Emmerich’s latest produces. Amongst the general silliness of the base narrative the film manages to find an effective disaster tone during the escalating action and drama – even during a point where a space shuttle is trying to take off before it’s wiped out by a tsunami-level wave. This all, of course before the inevitable CGI destruction of recognisable city landscapes.
Such elements are perhaps what make the scenes in space the most interesting elements of the third act. While the film flicks back and forth between the shuttle crew and the unfolding events on Earth, looking at the character’s various family members and what’s happening to them, the stuff on our home planet is never as interesting as what’s happening up front with the Moon. While it might be because we don’t have as much connection with these figures – despite little screen-time the film appears to think most of Michael Peña’s late stage scenes have more effect than they actually do – it’s also because they simply feel like a distraction from the more exciting stuff that’s happening at the same time.
By continuously looking back to the families on Earth trying to survive the end of the world the film almost appears to put the brakes on every so often before jumping back into the main course of interest and action. It’s also the point where the most silliness comes through and the film almost appears to lose itself. Becoming something different in letting go of the more direct edge and allowing for the sprawling ridiculousness to almost get out of hand. It’s at a clear turning point in terms of character and explanation of events that things truly begin to unwind. The film certainly doesn’t drop so dramatically that it becomes bad; there are still a handful of chuckles to be had at the stretches the narrative leaps towards, but it does feel as if there’s something of a dip as the tone clearly changes before things wrap up. As if feeling like it needs to make up for not being as ridiculous as the trailers and core events would suggest. However, where Moonfall works best is when simply letting its base create disaster and seeing the race to save the world unfold. It’s when the intentional humour works and, most importantly, you’re able to get on board with the idea of the moon falling.
When focusing on its three central figures Moonfall manages to create some effective action within its drama, not forgetting to include humour to match the silliness of the general idea. However, there’s a clear dip as the silliness is heightened in third act shifts to less engaging events and side characters.
If there’s one thing that Jackass proves it’s that pretty much anything can be perfectly demonstrated in the form of a musical number. After their second feature outing of pranks, stunts, pratfalls and pain the core cast gleefully provide a rendition of The Best Of Times, from La Cage aux Folles. While not quite being able to hit the same (or any) notes as the backing singers the group are also still being put through a succession of their standard stunts. Against the backdrop of building sites and saloons the familiar faces’ tunes-cum-groans are subject to falling off rotating cement mixer lorries and being dragged away by a horse, attached by a rope around the ankle.
Yet, amongst the worry and the pain the smiles remain. There’s a sense of laughter and amusement from all involved at the friendships formed within the various spectacles on display. It’s the case throughout the films, from the gross to the just plain silly. In fact, the film almost opens in this way. As members of the team read what they think is a Valentines message from a fan they find themselves smacked in the face by a spring-loaded boxing glove hidden behind the note and wall. Those in the know emerge in fits of laughter, and often that makes its way onto the face of the punch’s subject. With each new film Jackass has managed to bring the audience in to the environment of people who are simply having a good time in each other’s company and, most importantly, at the end of the day, being able to laugh with (and occasionally at) each other. Truly having the best of times in that very moment.
Up until the build up to latest feature in the franchise, Jackass Forever, I had never personally seen any of the Jackass films. I’d seen one or two clips, but couldn’t really remember anything about them. Even fan favourite moments such as the Poo Cocktail Supreme weren’t overly known to me. My general, cynical, perception was that it would just be a group of people doing stupid things that were either sick, painful or both – although definitely not anything harmful to the viewer. I didn’t quite have the stereotypical parental viewpoint that it was horrible stupidity degrading the youth of today (instead of blaming Canada the finger would likely be pointed towards California), but I certainly didn’t have any overall interest in the franchise, or the TV series from which it spawns from.
However, having delved into the films (including hidden-camera loose narrative Bad Grandpa) it’s clear that I was just ignorantly wrong. While not being a fan of the first entry – finding a fair few of the segments to be somewhat cruel – there’s a fair share of amusement to be found within the other features. As the laughter increases and the stars become the focus over the stunts, their reactions and responses to what they are performing add to those of the viewers. By the time Forever arrives the crew, and indeed director Jeff Tremaine, feel much more present; than the usual cut to cameraman Lance Bangs throwing up, and as much a part of what is being produced as lead faces such as Johnny Knoxville (who, while prominent, certainly isn’t as much of a primary focus as I at least thought he might be, Jackass truly is a set of team efforts) and Steve-O. And yet the feeling of a group of friends hanging out in a(n occasionally expansive) back garden with a budget, a snake/ animal expert, plenty of health and safety personnel and a number of cameras just to muck around is still present.
Their bond is shown in their moments of concern, even before things go wrong, even when they don’t. It’s in any stunt involving a bull. Any moment when unsuspecting victims are trying to help each other out of a situation, knowing how bad a shock from a – or rather multiple – stun gun can be. Duo or team segments where there are multiple people going through the same pain. There are clear bonds and pairings throughout the series – plenty feature Jason ‘Wee Man’ Acuña and Preston Lacy – it adds to the nature of certain stunts and the impact that some of them have. You see the concern and reluctance on Dave England’s face as he’s hesitantly about to take a pogo stick to ‘Danger’ Ehren McGhehey’s testicles; as if he’s about to go through the same nether region located trauma. Even Bam Margera’s mum, April; largely a victim, alongside her husband Phil, in the first two films, is more into the joking and finds herself laughing as chest hair is ripped off those around her with superglue in Jackass 3’s Super Mighty Glue.
It says something that amongst everything that happens the figures that have become synonymous with Jackass over 20+ years still have less trust for animals than they do their co-stars. It’s a recurring point that Margera is terrified of snakes. Whenever in a situation involving then, even rubber ones, he trusts those around him to get him out of the space he’s in (partially there as an act of revenge after having pranked various people on set during filming with glasses of water and boxing gloves). Each figure knows their friend’s weaknesses and fears, the things that truly cross a line for them. The fact that they’re used in stunts, for example a number that involve heights for Lacy, and certain members still go ahead with them says something about the levels of trust on set and in each other, not to mention the confidence of the cast.
Confidence is clearly something that has grown and spawned amongst the group. There may be mistrust about certain events but it’s certainly in place with each respective member, and the crew as a whole. It’s perhaps best demonstrated in the general body confidence that’s on display – none more so than Chris Pontius and his frequently displayed, painted and punished, penis. Jackass, particularly with the newest entry in the series, has always featured a range of body types. It’s lightly pointed out in the stunts, although never with an air of hurt or mockery. The cast are accepted within the group and while sometimes used in the stunts, for example Wee Man being part of a hidden camera bar fight with other people with dwarfism, namely the Half Pint Brawlers, playing bikers, policemen, paramedics, etc, the figure at the centre of the moment always appears to be in on, and supportive of the unfolding point. As if an equal part of the creative drive behind the stunt, prank or simple attempt to make everyone else laugh. You can almost link each figure to a certain type of stunt fit to their identity and overall style, making them fit into their own part of the overall Jackass mould even more.
There could be more said on the point of body positivity and confidence, each figure within the recurring group of men accepted by the others regardless of shape or size, but it can lead back to boiling down to the central idea of friendship that creates the laughter within Jackass (the title said that this whole piece was going to simply state the obvious). It’s clear the fun that the group are having, particularly in the more unexpected ‘behind-the-scenes’ style stunts, such as paint-bomb laden portaloos; where everyone ends up laughing, sometimes just in disbelief at what they fell for, in the end. It’s a welcoming environment of natural humour and acceptance – a group who can build up to stunts with links to Greek myth and still laugh at a quick moment involving what they’ve titled a Poocano.
Over time you too notice that you’re wanting the cast to come out of each segment still intact, and not just as a basic human response, but because their banter, which increases with each film, helps bring you in to the humour that bit more. There’s genuine impression when they manage to land a stunt – perfectly riding a minibike around a loop-the-loop gains a rather amazed response from both cast and audience – and a level of celebration from those on-screen. Of course people know not to go out and copy what they’re seeing on screen; and not just because it’s said at the very start and end of each film (Bad Grandpa aside), or because you can’t exactly just go down the road full speed on a mobility scooter as if the brakes have broken, more for the sake of pricing and availability than anything else. A Toro Totter is an even more difficult amusement to create, and then you have to find a bull.
It’s also perhaps the case that a fair few people just don’t want to copy what they’re seeing happening on screen. It’s very clear the pain and injuries that are caused to these mostly professional stuntmen, and the team that surround them. And amongst the set ups and health and safety precautions the extent to which some of these injuries go is obvious, and likely not anything people would want to recreate for themselves. There’s a reason it’s called Jackass and they claim that even after 20 years they’re “still doing the same old stupid sh!t”, just with a few more missing teeth (some more knowingly caused than others).
Everyone assembles to have a good time. A good laugh in each other’s company, and, of course, to some extent pain. The team is brought in and assembled each time with a confidence in each other, and to an extent themselves, to get them through each prank and stunt. It’s a close grouping that has clearly lasted years for both the Jackasses at the heart of the films themselves and the audiences who go to spectate their daring, and, as they would perhaps also admit, stupidity. Amongst the general content there’s an understandable nature as to why the franchise, and original series, continues to be such a success amongst teens in what’s branded as their coming-of-age years. An almost open, unspoken, invitation into the group. To laugh with them and have a good time for 90 minutes or so (at least when it comes to the film) no matter who you are or what you look like. With no real sense of malice. Whether for the kid who feels alone and needs a friendly pick up or the group of friends watching and laughing with each other (it should be pointed out that all Jackass films, apart from Bad Grandpa which has a 15 rating, are very rightfully rated 18 in the UK).
The films have slightly developed to feature more laughter and slight behind-the-scenes moments amongst the cast and crew. Featured in slightly lengthier segments that focus more on the prank format between the stars, or simply other people coming in and having a go themselves at sitting on an electrified seat. They’re all in it together and it shows through the ensemble nature that has always been present within Jackass. It’s shown in the opening sequences whether it’s everyone crammed into a giant shopping trolley or having their own near specialist style of stunt shown in slow-motion glory against a bright rainbow backdrop. And, of course in a musical number. Celebrating the friendships that make up Jackass, the fun and laughter to be found amongst the pain that the stunts create. The feeling that what’s unfolding at that moment in time is indeed the best of times.
In Jackass 3.5, one of the additional films in the franchise made up of bonus and behind-the-scenes material, Ryan Dunn and Bam Margera detail The Flying Nut High Five. Footage plays of various fails of the stunt, performed to the amusement of the rest of the cast. “The Flying Nut High Five is the attempt to jump up in the air, running at another dude. Spread your legs and then knock your nuts together” explains Dunn just before Margera falls backwards on his standard movie production chair with long, thin, wooden legs. “Did I get sabotaged or am I just stupid?” he questions as Dunn cackles. It’s the first of multiple times the chair will fall over as it begins to gradually break at the base. It seems Margera just simply isn’t made to sit on one of these seats. As it flattens and the pair find themselves increasingly distanced in height from each other their giggles turn to wheezes. As if forgetting the camera, the interview and attempting to smash (still clothed) testicles together Margera tries to hold onto the chair of his friend for both support in case the chair collapses under him, and to hold himself up for laughter. Dunn looks down and continues to laugh. It spreads between the two and further sets them off.
Cert – 12, Run-time – 2 hours 6 minutes, Director – Michael Showalter
Tammy Faye Bakker (Jessica Chastain) is a hopeful, young woman looking to tour America and bring as many people to God as possible, alongside her leading husband Jim (Andrew Garfield) the pair start a televangelism empire, not without its controversies.
‘Tammy Faye needs to think about her entire life before she sings’. It’s not explicitly said at any point over the course of The Eyes Of Tammy Faye, but if these words were to be stated it would be just one more thing that could lead the film to almost be called Preach Hard: The Tammy Faye Story. There are a handful of elements within the piece that lead it to feel like a, albeit generally watchable, parody of itself, or rather the type of biopic it’s demonstrating. It comes forward in the by-the-numbers convention that runs throughout. Over the course of the narrative and the central life depicted the line between parody and harsh convention is wavered across creating something close to a level of uncertainty for the viewer as to what the true tone of the film is meant to be.
We follow Tammy Faye Bakker (Jessica Chastain), a hopeful preacher who goes from touring America, with her husband Jim (Andrew Garfield) putting on shows for kids and families, to gradually opening up one of the most successful televangelism empires in not just America but eventually the world. However, while Tammy is very much intent on showing God’s acceptance and welcoming people into the televisual congregation Jim seemingly becomes far more intent on bringing money in through sugar-coated appeals, emotional requests for money (or rather “donations”). The marriage becomes a target for the papers, alongside the channel the pair broadcast on and practically run as a whole. “The secular press hates us because we’re winning millions of souls for Jesus” claims Tammy, baffled by why anyone would believe the obvious rumours being spread, and not want to get to know Jesus and have a similar transformational experience as the one she had in her childhood.
Over time the early-blossomed relationship between the two appears fractured as they’re on really seen together on the television screen, where at least Jim is putting across an increasingly false persona. Yet, even as the film appears to firmly establish its characters, slightly settling down and straying away from the parody feel as the marriage becomes the central focus, it seems that Jim fluctuates for the viewer. While you might get used to one character type he soon changes again and you’re never completely sure what his true intentions or views are. Is he being manipulative, is everything for his own gain, or has he actually had a sudden moment of realisation and regret?
Such thoughts are emphasised when it’s made very clear who the real villains of the piece are meant to be. It comes in the form of Vincent D’onofrio as Rev. Jerry Falwell. It’s not just his clear disgust for liberal thinking, and particularly what he sees as the sin of the LGBT+ community, but the way in which he says it. Harsh, sibilant adjectives demonstrate this in a way that clearly states ‘I’m the bad guy’ as he enters into why ministry should also be used to help the Republican party. There’s a general air of obviousness around him whenever he appears on screen, although not down to D’onofrio’s performance.
However, many of the film’s events are seen through the titular eyes of Tammy Faye. Chastain does a great job with what she’s given. While not always getting strong material she certainly avoids a performance that feels like something of a spoof. She helps to lift the film up and push it along, often being the core reason that you stay somewhat involved in the piece and it remains watchable. Although, as she turns to belt out another gospel track, it does all lead you to want to see her in a big, feel good musical.
By the time we reach the ending, after a rather lengthy final 25-30 minute packing in the details of a turnaround in the narrative that has been little referenced up until now, there’s still a watchable piece of work here but one that certainly feels as if we’ve seen it before. Good performances help to distract from an overall feeling of parody and keep you somewhat interested in what’s happening – particularly Chastain when travelling along the lines of her character’s mission rather than the slightly overdone personal worries – perhaps the most familiar elements of the piece. In the end there’s a very by-the-numbers product within The Eyes Of Tammy Faye. It just about keeps your attention and perhaps, much like in real life, it’s down to the on-screen performances.
Often wavering between parody and strong convention The Eyes Of Tammy Faye is a watchable, if very familiar, biopic, often held up by the efforts of Jessica Chastain and Andrew Garfield’s central performances.
Cert – 18, Run-time – 1 hour 36 minutes, Director – Jeff Tremaine
The Jackass team reassemble, with some new faces, after more than ten years away to put each other through another round of pranks, ‘games’, stunts and pain.
“D!ck pain hurts” three words that state the obvious and also help to sum up just part of Jackass rather well. While still somewhat difficult to review the film franchise based on the hit MTV series has managed to remain a level of consistency (certainly firmer than the faeces regularly featured throughout) while still slightly developing with each feature. It’s been over ten years since the core ensemble were last on the screen putting each other through various painful stunts, but still having a good laugh in (and at) each other’s company. Now, over twenty years since the original TV series, most of the regular ensemble are back, with a handful of new figures (although never taking the spotlight away from the returning members, or feeling pushed aside), as Johnny Knoxville puts it, “doing the same old stupid sh!t”.
Perhaps compared to the previous films there’s more within Jackass Forever that emphasises the more prank-like nature of many of the stunts. An early piece sees various figures locked in a pitch-black room with what they think is a venomous snake, while Knoxville and Chris Pontius (perhaps the most confident man to ever grace(?) the screen), with the help of night vision goggles, tease them with rubber snakes, fake paws and the occasional taser. There’s a developing nature to the increasing worry and laughter of the figures in the room that while spanning only a couple of minutes certainly has a longer feel to it than some other Jackass stunts. Forever appears to have a number of such instances, where in the end everyone has had a good laugh and appears to have some form of good time, even if that comes in the relief after everything that’s just happened. There’s a level of engagement with them as they develop and allow you to laugh with the figures on screen, never feeling cruel – as a handful of pranks and stunts in the first Jackass film feel, to me. Edited montages and compilations create a level of consistency within certain individual segments and generally enhance the humour to be found.
This is perhaps the Jackass film that features the most laughter from the cast, and indeed the crew. While we still have cameramen throwing up there’s a stronger feel to the presence of the crew, with even director Jeff Tremaine featuring slightly more than before and being involved in one or two stunts as well. While there isn’t wholly a sentimental vibe of friendship in place, this is the same old Jackass, it’s clear the bond that the group has and it brings you in that little bit more to be able to laugh more freely at some of the unfolding events. Their bond is shown in moments of worry, Dave England clearly concerned before, during and after bringing a pogo stick to ‘Danger’ Ehren McGhehey’s testicles (perhaps one of the moments that gains the biggest audible flinch response from the audience). As usual, it’s made clear, do not try this at home!
“I’m a grown man, I’m 51 years old!” cries Preston Lacy while his friends around him laugh at heightened toilet humour. The core cast may certainly be older but they’re still having as much of a good time (if albeit occasionally painful) as ever. It manages to rub off on the viewer, particularly during the extended pranks and sequences where things are allowed to truly develop and be built upon for extra chuckles along the way. It feels as if there’s more wider involvement and laughter from the cast and crew as a whole and that also manages to create a fair few laughs amongst the audience.
In general this is perhaps the most ironed-out and enjoyable Jackass film yet, in terms of both set up and occasionally hazardous execution. We’re shown patches of banter between the on-screen figures instead of moving from segment to segment. It helps the overall flow and entertainment factor and simply provides you with plenty of amusement, and, of course, its fair share of shared pain, to make for something that while being the same old Jackass is perhaps the best, most enjoyable one yet.
Perhaps the most ironed-out Jackass film yet there’s a stronger group feel to Jackass Forever than ever before. There’s plenty of chuckles within the harmful amusement, strengthened by the laughs and banter shown on-screen, particularly within the construction of longer segments given time to breathe.
Release Date – 18th March 2022, Cert – 12, Run-time – 1 hour 42 minutes, Director – Craig Roberts
Humble working class family man and shipyard worker Maurice Flitcroft (Mark Rylance) finds himself playing ‘professionally’ in the 1976 British Open, having never played a round of golf in his life.
Maurice Flitcroft has been labelled the world’s worst golfer. And while some claim that he wasn’t a golfer at all there’s no denying that he certainly gave the sport a go. It’s the spirit that The Phantom Of The Open – adapted by Simon Farnaby from his biographical book of the same name – embraces and runs with throughout as it sees the working class shipyard worker, have a crack at the 1976 British Open. He’s managed to enter professionally; after having ticked the box and having that simply accepted, despite having never played a round of golf in his life, and has his heart set on making the most of his time there; revealing the colour of his golfing outfit like Superman unleashing his iconic ‘S’ logo. What unfolds is a standard British underdog tale. A charming enough feature with plenty of typical British humour to carry it along the way.
Perhaps the force that brings us in to the piece the most is Mark Rylance in the leading role. With his softly-spoken northern accent you don’t completely notice just how good and charming he is, or the fact that he’s apparently meant to be 46, as he manages to be perfectly wrapped up within the tone and heart that the film, and indeed he, creates. He’s surrounded by a strong supporting cast of British faces including supportive wife Jean (Sally Hawkins) and irritated tournament head Lambert (Rhys Ifans), almost furious at the mockery that Flitcroft appears to be making of the competition. He causes a spiral of events for the innocent family man that see him almost shut out of any opportunity to have a go at his newfound passion, simply adding to his determination to simply have a go.
Throughout the film the 70s vibe is certainly felt. Not just from a slightly odd ream sequence that we see early on, the start of Maurice’s fascination, but in the general design and feel. It somehow intensifies the overall British feel of the piece as each of the characters within the Flitcroft family strive to achieve their own dreams, although some away from the core family unit where the other member are seen as slight oddities that could put them at a disadvantage in a successful business-life; the case for eldest son Mike (Jake Davies). He contrasts greatly to his twin brothers (Jonah and Christian Lees) who find themselves competing in major competitions as a disco duo. With such strands you can generally tell where the film is likely to go due to a sense of familiarity and slight convention, particularly as they reach and build up to slightly more sentimental moments, even if things are pitched as they may have played out in real life. And while it adds to the likable British feel of the piece it creates a near on-the-nose feeling to a number of points that the film makes, particularly in the second half, and the build up to it.
However, amongst he convention there’s still plenty of humour to be found within the well-meaning figure of Maurice Flitcroft. He’s held up by the cast and production team. His generosity and nature of simply wanting to see others succeed brings you in to want to see him succeed in his own goals. It’s what creates much of the likable and enjoyable nature of The Phantom Of The Open – certainly living up to its tagline of “every dreamer deserves a shot”. We don’t exactly laugh, although there are plenty of chuckles along the way, with him, but certainly enjoy the amusement of him having a good time, his ambition and simply throwing himself in to his newly-sprung passion. It may be slightly recognisable and conventional-feeling at times, but there’s no denying the charm and humour which carry things through, alongside the central focus, to make this a worthwhile, enjoyable and very British underdog feature.
While it occasionally leans towards convention and familiarity there’s plenty of charm and humour within The Phantom Of The Open and the kindly ambitions of its well-performed central character to carry it along and keep you in place.
Film journalist, and Empire Magazine and Podcast contributor, Helen O’Hara joins me once again to discuss the upcoming paperback release of her book Women Vs. Hollywood – available from 3rd February, while the hardback and audiobook are already available.
Helen can be found through her Twitter account. Women Vs. Hollywood can be bought in a number of places, in both hardback and paperback (from February 3rd), including: Waterstones, Amazon and “all good and evil book shops”. The audiobook can be found here. Meanwhile, the Women Vs. Hollywood podcast (which may come under the title of Helen’s Christmas film podcast Bah Humbug) can be found on most podcast platforms.
Release Date – TBC, Cert – N/A, Run-time – 1 hour 38 minutes, Director – Maung Sun
While trying to make his debut feature, hopeful director Wai Bhone (Okkar Dat-Khe) runs into financial troubles in both his personal and moviemaking lives.
Opening his feature debut, co-writer (alongside Ma Aeint) and director Maung Sun takes a slightly satirical look at censorship within the Burmese film industry. His central figure, Wai Bhone (Okkar Dat-Khe) is attempting to also make his own feature debut, however the gritty gangster flick that he aspires to create is being shot down in lengthy conversations with his producer for containing too much violence, sex and swearing. This all before anything has even been properly filmed. The film simply viewed in comparison to the original upon which it is based. We see the initial struggles of the first-time director, not just with his producer but with a minimal, not always present, crew. Sun manages to avoid a comedic tone that comes into effect later in the piece and forms an interesting depiction of such creative struggles that helps bring you into the film and the attempts and efforts of the central figure.
A central figure who the film acknowledges early on is undeniably flawed, making him an interesting early drawing point. As a need for money, not just within his filmmaking career but his personal life, where his family’s situation in their flat is put at risk if they don’t pay up on time, comes into play the more slightly comedic elements come into play, alongside the gradually appearing notes of a heist. The film certainly feels as if it’s telling two different lines just shown through the eyes of the same figure. One in his working life, the other in his family life. It’s during scenes focusing on the latter that the film almost feels as if it comes to something of a standstill, particularly within the first half of the narrative when they’re still being warmed to. After having built up the film production elements such moments seem like something of a slight detour and distraction. And while adding to Wai Bhone as a character they don’t always keep you in the flow of the film.
In general as we reach the second half of the fairly short run-time the details and general line that’s travelled don’t quite click or work as well as they did before. There’s an almost jumbled sense to the film and the different things that it’s trying to show to enhance the actions and desperation of the central character in his search for money. There are certainly some good elements, mostly in relation to the heist itself; particularly a rather amusing getaway, but they don’t entirely distract from the overall wavering nature of the rest of the scenes that surround them.
Over time the initial elements that brought you in in the first place, especially those focusing on the main character’s original frustrations and the film-related side of things, begin to shed. The second half progresses dealing with a few more elements, again with the same varying degree of interest and engagement from the viewer. And while the film as a whole just about manages to stay standing it’s not always on the most sturdy of grounds after having changed its stance, or at least narrative focus, a couple of times throughout its 98 minute course. There are moments of interest to be found along the way, mostly in relation to the initial filmmaker struggles that we see being faced, particularly creative and censorial disputes. But, there’s aren’t always kept in focus beyond the first half resulting in a slightly wavering narrative that while throwing the main character around and creating some mild amusement every now and then never properly feels as if it stabilises.
Despite a promising opening and set up once Money Has Four Legs begins to delve into the more non-film-related areas of its central characters life and the events that spur from there it begins to feel jumbled in tone, themes and an overall central focus.
Cert – U, Run-time – 1 hour 50 minutes, Director – Garth Jennings
Musical theatre producer Buster Moon (Matthew McConaughey) convinces wealthy businessman Jimmy Crystal (Bobby Cannavale) to put on a show, in three weeks, featuring his hopeful cast, and reclusive former rock star Clay Calloway (Bono).
In my opinion the best joke in 2016’s Sing is perhaps held within the short audition montage. As we cut through a handful of loud, belted out, largely pop-infused, songs we get a brief glimpse of a barbershop quartet of tortoises singing “I love my shoes”. While there isn’t quite anything at this level of snappy silliness within the sequel it does feature Adam Buxton putting on a slightly silly voice. He plays “stupid, fat, old monkey” Klaus Kickenklober. He’s the dance instructor for Taron Egerton’s Johnny. Throwing him straight in at the deep end and declaring any mistakes he makes as soon as they show even the earliest signs of appearing.
Johnny’s preparing for a dance battle sequence in an upcoming big-budget stage musical produced by Buster Moon (Matthew McConaughey). A show which is kick-started after a somewhat chance encounter with highly wealthy Redshore City (think Vegas meets New York meets Orlando) figure Jimmy Crystal (Bobby Cannavale) providing the seeming millions of dollars, a three week deadline and plenty of threats on Moon’s life and career. All under the impression that the performance will see the return of reclusive rock star Clay Calloway (Bono), after fifteen years away from the spotlight. It’s just one of the many issues that Moon has to deal with, amongst the various struggles of his cast that may prevent them from giving a truly authentic performance amongst the towering heights of the sprawling sci-fi sets which have been built.
Out of the returning faces that lead the musical ensemble we perhaps see slightly more of German pig Gunter (Nick Kroll) – who comes up with the whole idea for the ambitious, not entirely thought through, or finished, sci-fi venture – and elderly iguana assistant Miss Crawly (writer-director Garth Jennings – with what seems to be the help of some frequently noticeable voice-changing technology). The pair certainly don’t dominate the piece, but feel slightly more present for mildly amusing comedic moments than last time around, after, mostly highly-energetic Gunter and his rendition of Bad Romance, acted as a key selling point for the original film. In the case of this film the marketing, particularly the trailers, seems to have revolved around the idea of giving away the entire narrative. It’s something that comes into play while watching the film as you feel the more formulaic elements guiding the film to the handful of conclusions for its central characters.
Throughout the film and its many musical segments (there’s a lot on the soundtrack for this film and at times it almost begins to get a bit too much as you only hear short bursts of each track before moving to the next in another scenes) you can generally feel the fairly conventional lines in which it travels down. It feels apparent that this is perhaps one more for the kids than the adults in the audience. That being said, as the film progresses there are certainly moments and beats that help to keep you in place, not just the handful of chuckles, slight cameos and highlights featuring Adam Buxton simply having fun voicing his character that are thrown into the mixture, and over time you find yourself slightly more engaged with the piece as a whole. It picks itself up from being generally fine and watchable and turns out to be something that’s quite good. A rather enjoyable set of moments and strands that combine to make something that, yes, while somewhat predictable and slightly familiar, manages to just about stretch beyond the large amounts of detail shown in the trailers.
While you can feel the more formulaic strands and elements there’s a bit more to Sing 2 than just what the trailers show. It has some chuckles dashed throughout the heavily-soundtracked narrative and overall makes for enjoyable enough, if eventually forgettable, viewing.
Release Date – 20th January 2023, Cert – 12, Run-time – 1 hour 25 minutes, Director – Victoria Fiore
Following four years in the life of Entoni, grandson of worried grandmother Dora, who fears that he is heading towards a dangerous life of crime.
There’s a compelling draw within the conflicting familial nature of Victoria Fiore’s documentary feature debut, Nascondino (translated to Hide And Seek). We see grandmother Dora worry about the future of her nine-year-old grandson Entoni. He’s not just rebellious but is pitched as a wannabe mafia boss, seemingly hurting towards a future life of crime. Not only does this make his grandmother fear that his future will be one of destruction (particularly towards himself) but that he may be taken away from his family, after Italy passes a law saying that if there is a threat of children entering into crime then they will be moved away from their families.
Entoni makes for an interesting central focus throughout the four year course that the film covers in a very short 85 minutes. He’s clearly confident in himself and what he says, although it’s said that “your tongue is your biggest enemy” as often his outspokenness can be as potentially destructive as his actions in the cramped streets of Naples. The audience watches Entoni’s slight developments, and his family’s increased struggles and worries, over the years much like Fiore’s camera. Sat and observing the unfolding actions naturally play out, as if a camera isn’t present at all and you’re actually in the cluttered greyness of Entoni’s surroundings. It helps to bring you in and form a larger connection with the piece as a whole as the film, helped by the editing, simply allows the story to tell itself.
It’s a point that’s pushed through the fact that there are very few interview segments placed throughout. In fact, the only person we really properly hear the spoken-to-camera views of is Dora as she reflects on her own past, not wanting to see Entoni go through the same thing, despite appearing to be hurtling towards it. It’s echoed when he’s told “get your head straight… because sooner or later you’ll get your wings clipped”. An early threat thinly wrapped as advice that appears to go straight over the head of the young focus as he can’t wait to get away from the busyness of the cramped apartment he’s often confined to.
And yet, amongst everything that the film shows in terms of Entoni’s links to crime, and even increasingly high chances of being sent to prison, the film reminds us that he is still a child. There are brief moments of him simply sat down playing games, whether at home or in the streets. Exploring in his own way and wanting a sense of freedom. While sometimes this leans into his own view of freedom and the path he may be knowingly going down, there’s still an occasional sense and reminder that he is a child. It helps to stabilise things and bring about the seriousness of the situation that he finds himself in, and the threat he faces in regards to his future and the actions put in place that could take him away from his home and family. It forms an emotional level of intrigue from the audience to the piece and rounds off a wholly engaging nature to Fiore’s film. One which makes the most of your fascination with the central figure and naturally-occurring events that make up the short run-time. Forming a quiet, unforced connection between you and the piece and an overall compelling surprise.
Thanks to the way it largely allows its events to naturally play out Nascondino brings you in for a fantastically pieced together and compelling course by reminding you of both the seriousness of the situation that the central focus is in, and the fact that he is still very much a child.
Just A Little Bit Random 