movie review

Movie Review: OUR LAST TANGO (UN TANGO MAS) (Argentina/Germany 2015) ***

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our_last_tango_posterOUR LAST TANGO (UN TANGO MAS) (Argentina/Germany 2015) ***
Directed by German Kral

Review by Gilbert Seah

This documentary tells the story of love between the two most famous dancers in tango’s history – María Nieves Rego (aged 81) and Juan Carlos Copes (aged 84).

When the film begins, a closeup of Maria has her say that if she was given the chance to do it all again, she would not change a thing – for tango. The only thing is to do it without Juan. The camera moves back to show Maria and Juan standing very close, face to face. They begin to tango. This is a powerful start. Why did Maria make that statement about Juan. Did she bare that much hatred fro him? Or did she love him too much that she cannot handle it? The doc goes on to reveal the reason.

The film would naturally have a slow feel with two aged subjects. Director Kral (who got his film experience working as assistant to Wim Wenders) tries to counteract this by animating his film as much as possible. This is most evident in one scene where Maria’s two interviewers more than act out their surprise at Maria’s answers to their questions.

OUR LAST TANGO is less a film about the tango than about the relationship between Marian and Juan. And it is not a love but more a hate relationship. It becomes a bit tedious, with each complaining about the other, from start to finish of the film. Director Kral offers two sides of the story, so that the audience takes no sides. Often each would complain about the other at great length. Maria loves Juan too much but not unconditionally. Her pride is terribly broken she Juan bears a child with another woman. On the other hand, one can sympathize with Juan when he says he cannot stand Maria. It is not easy to live with someone whom one cannot stand despite the fact that that someone loves you.

The film has quite a lot of tango dances but not many shown in great detail or to great length. Rather many different types are shown during the different stages of their lives. The duo exported their dance to Broadway with ‘Tango Argentino’.

One wishes that there be more archive footage of Maria and Juan dancing together. Young dancers perform too many re-enactments so the film has too much of a made-up feel.
There is little said in the film of how the two became so famous and how rich or successful they became. Their dances on display in the film reveal very little of their talent as well.

OUR LAST TANGO is also a film about ageing, though not much is said of the subject. But one can see on the faces of both Juan and Maria – their past glories and regrets. Maria is also suffering from some nerve problem, evident in her old age. She cannot stop shaking her head.

It is difficult to imagine OUR LAST TANGO being interesting to those with little to do with dance, for the love/hate relationship of the couple is also not something that audiences will flock to.

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Movie Review: CAROL (USA 2015) Top 10 *****

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carol_posterCAROL (USA 2015) Top 10 *****
Directed by Todd Haynes

Review by Gilbert Seah

CAROL, first screened at Cannes to rave reviews and winner of the TFCA Award for Best Film, is the slow moving pensive subtle new film by helmer Todd Haynes that tells the sad tale of the love affair between two women, a rich wife, Carol Aird (Oscar Winner Cate Blanchett) and a store clerk, Therese Belivet (Rooney Mara). The film is based on the ahead-of-its-time 1952 novel called “The Price of Salt” by Patricia Highsmith.

Therese wants out of her hum drum life. Her job as a store clerk is leading nowhere just like her relationship with her overeager boyfriend, Richard (Jake Lacy). Her dreams include a career in photography and a more comfortable richer lifestyle with Carol who she meets at her store. Carol is facing problems of her own. Her separated husband, Harge (Kyle Chandler) is denying her daughter’s visitation rights. Harge is using her past lesbian affairs to deem her an unsuitable mother. This is the obstacle. Carol has to choose between her love for Therese and her daughter.

Haynes’ film moves extremely slowly. Not much is conveyed, for example in the first 15 minutes of the film, as the setting and introduction of the characters slowly come into focus. Even the ending is slow as the audience wonders what the final outcome of the relationship will be. But it is still a rewarding drama, all things considered. The set design, wardrobe, props and costumes are almost too perfect – like the departmental store Therese works at and the clothed and jewellery worn by Carol. The look of the film is similar to Haynes’ FAR FROM HEAVEN where the family lives in a gorgeous neighbourhood with perfectly manicured lawns.

Blanchett delivers another Oscar winning performance, the best sequence occurring during the lawyer and husband’s meeting when she is forced to have a final say. Her character is a very intelligent one – one who knows the stakes at hand, the risks involved with her relationship and what she has to do in order to survive. This contrasts with Therese’s character. Therese does to know exactly what she wants regarding her heterosexual relationship, her career and her current romance. It is Therese’s naiveté contrasted against Carol’s planned actions.

For a film about a lesbian relationship, sex scenes are necessary. It is quite uncomfortable to watch Mara and Blanchett having a go at it, in the nude, in bed. After all, this is the actress that played Queen Elizabeth, and winning an Oscar in the process. The sex scenes are long and could be shortened without much damage to the story.

2015 has seen two high calibre lesbian films, CAROL and FREEHELD, both with superb performances, yet both are highly different films with different themes. CAROL is dead serious, but not without humour, and more of the subtle variety.

CAROL is Todd Haynes (FAR FROM HEAVEN, SAFE, VELVET GOLDMINE), still in top form in terms of uncomfortable drama. Just as Ang Lee’s BROKEBACK MOUNTAIN broke taboos with male stars in a male homosexual drama, Hayne’s CAROL will do the same with the female gender. It is great to see two stars give their all for the craft of cinema.

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Movie Review: ANOMALISA (USA 2015) ***** TOP 10

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ANOMALISA_posterANOMALISA (USA 2015) ***** TOP 10
Directed Charlie Kauffman, Duke Johnson

Review by Gilbert Seah

Charlie Kauffman outdid himself and almost everyone else for that matter with the script of FINDING JOHN MALKOVICH, made into a film so inventive, entertaining and fascinating, that one can hardly imagine anything topping that. ANOMALISA comes close if not succeeding.

As the stop-motion animated adult comedy drama unfolds, slow enough to allow the audience to think over many of the film’s details, the immediate question that comes to mind is why animate this story. The question seems more relevant since the animation appears to copy the actual human being and their everyday work as accurately as possible. The characters are animated but the settings like hotel room, cab and props are not. A non-animated film could have served the identical purpose. The answer to the question might be that the story could have been told in either format, but the stop-motion animation serves to highlight certain aspects of Kauufman’s ingenious story. For one, the story has surreal elements that are best highlighted in a surreal looking animated film resembling the real thing. Secondly, the artificiality of life is emphasized. And thirdly, the whole enterprise looks like a dream – a Kafka-ish world like an animated cartoon.

The apparently ‘normal’ story concerns Michael Stone (David Thewlis), an author of books on the subject of customer service, struggling with his inability to connect to people. Michael, born in England and married with a son lands in Cincinnati on a routine business trip. He meets a stranger, Lisa (Jennifer Jason Leigh) who changes his world view as he falls in love with her.

The film appears really odd at the start. All the female characters are voiced by males (except for Lisa) and soon it becomes apparent that all the voices are done by one male actor – Tom Noonan. The reason becomes clear later on in the film.

Kauufman’s film works on various levels. It is one of the most human films that is animated. The world as seen by its protagonist is exactly the way it actually is. The most important person is oneself and everything else is secondary. In the same way, to Michael Stone, the only person that matters is himself, which he realizes and that there is only one other person in the world that matters, the one he has fallen in love with and the one that really would make a difference. This is the one that will de-normalize his life and hence he renames her ANOMALISA from Lisa. The film also captures the boredom or everyday life in a most exciting way – a feat Kauffamn achieves, at apparent ease.

The stop animation is a marvel – complete with its accuracy in details. The animated sex scene complete with gentials should be seen to be unforgotten. An old movie seen on TV by the characters is also animated ANOMALISA has won accolades and prizes where it has been shown. It currently, at the time of writing, hold a 100% rating on Rotten Tomatoes.

ANOMALISA is an almost perfect film in every way, down to the closing song and music. The film is a rare treat that celebrates life and the best of what it has to offer, ironically, without having a happy ending. Not occasionally but frequently brilliant, ANOMALISA is that rare movie, yes out of the ordinary that is definitely a must-see, a near-masterpiece of originality!

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Top 10 Films of 2015 by Gilbert Seah

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TOP 10 FILMS OF 2015

The end of the year arrives with the best 10 lists of everything.  As for films, it is always the same each year.  For the first 11 months of the year – nada.  Almost nothing good is screened and come December, a host of excellent, inventive and entertaining films arrive.  Guess it is Santa’s reward for filmgoers pumping good old fashioned money into the economy.

My best 10 films are listed below (in alphabetical order).

TOP 10 (in alphabetical order):

ANOMALISA (USA 2015) ***** 

Directed by Charlie Kauffman

Animated feature about a lone soul (voice of David Thewlis) who finally finds the love of his life.  The entire film is narrated by only three actors because there are only three people in Michael Stone’s life.  Himself,  Anomalisa (Jennifer Jason Leigh) and the rest of the world (Tom Noonan).  A most interesting film about the most boring person on the planet.

THE BIG SHORT (USA 2015) *****

Directed by Adam McKay

A smart, hilarious look at the housing mortgage bubble burst in the U.S. and the few people that benefited from it.  An all-star cast joins in the fun with cameos from Salena Gomez and Robbie Margot who help explain some financial jargon.  

CAROL (USA 2015) *****

Directed by Todd Haynes

Openly gay director Todd Haynes delivers another first class gay drama about the love affair between an older wealthy woman (Cate Blanchett) and a  struggling store clerk, Carol (Rooney Mara).  Set in the 50’s when gay relationships were taboo, CAROL is nevertheless moving, disturbing and ultimately still relevant.

THE FORBIDDEN ROOM (Canada 2015) ****

Directed by Guy Maddin

The Best Canadian film of the year and another weird and wonderful film by Guy Maddin with co-creator Evan Johnson – and one of Maddin’s best and most structured, which is not saying much.  And the film is in colour instead of black and white.  The film begins, humorously with a man in a bathrobe giving lessons on how to draw a bath.  This vignette is linked to another concerning a submarine crew in dire distress.  The captain is missing and the air supply is running out.  They chew on flapjacks to utilize the oxygen bubbles in the batter.  Does not make sense?  It does not matter.  All this is part of the weird pleasure that is abundant in a Maddin film. 

THE HATEFUL EIGHT (USA 2015) *****
Directed by Quentin Traction

Shit-disturber Tarrantino’s latest film, a western is another winner.  Bounty hunters and an assortment of characters are put up at Minnie’s Haberdashery during a winter blizzard.  They do not come here without a reason.  Chaos ensues.  The film runs 3 hours with a 6-minute longer version in 70mm, complete with overture and intermission.

HOUSEBOUND (New Zealand 2014) ***** Top 10

Directed by Gerard Johnstone

HOUSEBOUND is my guilty pleasure.  The film came out of nowhere turning out to be the biggest surprise of the year.  This is the story of story of Kylie Bucknell (Morgana O’Reilly), an ill-tempered delinquent forced to return to the house she grew up in when the court places her on home detention.  Her punishment is made all the more unbearable by the fact she has to live there with her crazed mother Miriam (Rima Te Wiata) – a well- intentioned blabbermouth who’s convinced that the house is haunted.   Horror comedy at its best, all neatly explained at the end.

JOY (USA 2015) *****
Directed by David O. Russell

Joy is indeed a great joy!  David O. Russell’s latest family/business drama sees desperate housewife Joy (Jennifer Lawrence) take on the business world with her invention, the miracle mop with the help of her immediate and extended family.  Hilariously satirical at times, this movie belongs to both Russell and Lawrence who delivers the best performance this year.

LEGEND (UK 2015) ****
Directed by Brian Helgeland

LEGEND is about the notorious Krays, the gangster twins that terrorized London the 50’s and 60’s.  The Kray twins in LEGEND are both played by Tom Hardy.  Written and directed by Brian Helgeland (L.A. CONFIDENTIAL his best film) and based on the book The Profession of Violence: The Rise and Fall of the Kray Twins by John Pearson, the film is told from the point of view as well as narrated by Frances Shea (Emily Browning) the wife of Reggie Kray, making it part crime and part love story.

THE REVENANT (USA 2015) ****
Directed by Alejandro Inarratu

A tracker (Leonardo DiCaprio) is mauled by a bear and left for dead by his fellow travellers.  The man survives and after a long track, gets his revenge.  A great wilderness adventure with a very strong performance by DiCaprio, this violent  \film might not be for everyone but it is quite the unforgettable movie.

STAR WARS: THE FORCE AWAKENS (USA 2015) *****
Directed by J.J. Abrams

The most anticipated film of the year lives up to the hype and expectations.  Abrams pumps new blood into the series with characters like Rey, Poe and Finn joining the legendary Star Wars characters Hans Solo, Luke Skywalker and Princess Leia in taking down the Dark Side.  Great special effects, action sequences and musical score add to the the best that this series has to offer.  The Force has awakened and is here to stay!

Movie Review: 3 1/2 MINUTES, 10 BULLETS (USA 2015) ***1/2

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3_minutes_ten_bullets_poster3 1/2 MINUTES, 10 BULLETS (USA 2015) ***1/2
Directed by Marc Silver

Review by Gilbert Seah

An altercation begins over loud rap music at a gas station parking lot. 3 1/2 minutes and 10 bullets later, a black teen, Jordan Davis is shot dead by a white man in a car. The totally absorbing documentary is a courtroom drama, made even more real because what transpired is not only true but relevant in the perception of homicide and race in America.

The facts of the case: In 2012, a middle-aged white man, Michael Dunn, was arrested after fatally shooting a young black man, Jordan Davis, outside a gas station in Jacksonsville, Florida with his gun in the glove compartment of his car. It was a case of loud music. While Dunn’s fiancé went into the station for wine, loud music from a car with 4 black youths caused Dunn to ask them to turn the ‘rap crap’ down. The altercation escalated to the shooting of Jordan while the youths’ car pulled away.

The jury of 12 is to determine the verdict of the 5 counts of murder. What is so different about this doc is that director Silver puts the audience in the position of the jury. All the facts are presented in disturbing detail. The audience hears both sides of arguments of the two attorneys, examines the faces of both Dunn, the accused and the parents of the victim, and each the enactments. As the jury enters closed doors to make the decision, the audience is also forced to come up with his or her decision on the case. It is a very good tactic that works well to keep the audience focused on the facts and absorbed in the film at the same time.

The interviewees include Lucia McBath and Ron Davis, Jordan’s parents. The court proceedings focus often on the reactions of accused Michael Dunn, often in closeups, as if the man can be in scrutiny by the audience. The mother is often shown in tears while the father peaks fondly of his son, like his last time holding the boy in his arms in the hospital. As for Dunn, the camera allow him to tell his side of the story, how he loves his fiancé and how he feels he is the victim who should not deserve life imprisonment. In his own words, he just wants to go home to make love to his wife and then sleep. Director Silver makes his story a very personal and emotional one. On the other side, the audience also sees how good each lawyer is, each able to manipulate the evidence and testimonies to the side’s favour.

The attorneys make it clear that the case be treated as a nonracial crime, and one that resulted in antisocial behaviour and loud music. But this turns out to be another very high profile trial, very similar to the Trayvon Martin killing, in which a young black man in Florida was killed by a white community-watch volunteer. The demonstrations outside the court indicate the people want to know if the shooting young black men is something white people can get away with. It is clear thy do not want the truth, they want a guilty verdict regardless. But for Canadians and other non residents in the States, the case is more about guns – whether the right to bear arms in the States is still worth the mindless deaths of so many.

From the testimonies, it is clear that someone is lying. Dunn could be lying that he saw a weapon and acted in self define. or the youth could have discarded the weapon before the cops arrived. But self defense or not, Jordan did not deserve to die.

Silver’s documentary is both timely in its subject matter and absorbing in its execution. These are two good reason to put this doc on your must-see 2016 list.

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Movie Review: THE BIG SHORT (US 2015) *****

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the_big_short_posterTHE BIG SHORT (US 2015) ***** TOP 10
Directed by Adam McKay

Review by Gilbert Seah

Based on the best-selling novel of the same name by Michael Lewis, THE BIG SHORT describes several of the key players in the creation of the credit default swap market that sought to bet against the collateralized debt obligation (CDO) bubble and thus ended up profiting from the financial crisis of 2007–2010. But the film mainly highlights the eccentric nature of the type of person who bets against the market.

It should be noted that many of the characters in the book have their names changed – to protect the innocent or the guilty, as the case may be. The Jared Vennett character played by Ryan Gosling and the Mark Baum character played by Steve Carell have been changed from the Greg Lippmann and Steven Eismann characters respectively. Others like Dr. Michael Burry (Christian Bale) have remained unchanged while Brad Pitt’s Ben Rickert has been changed from Ben Bockett. It is also strange that Adam McKay, a director known for his outlandish comedies like ANCHORMAN and THE OTHER GUYS be chosen to make this film based on such a serious topic. The housing credit bubble burst cost millions of Americans their jobs and houses. But it is a good bet. No ordinary person would like to see a depressing film about the Ameggedon of the U.S. housing market. McKay makes the whole enterprise hilariously off-beat, so unless one has actually been burnt, severely by what has been described, THE BIG SHORT is one hell of a ride!

For those not well versed in the world of finance, THE BIG SHORT might be too technical. But the film is not without its entertainment value. McKay explains certain terms with great humour. If one is uncertain on what mortgage credit is, he uses Margot Robbie (playing herself) to explain the term while drinking champagne in a bubble bath. McKay also uses Selena Gomez (again playing herself) to explain the various type of CDOs (Collateralized Debt Obligation) while handed a ten and a seven at a Blackjack table in Las Vegas.

There are characters in the book left out in the film. No complaint here, as the film already runs over two hours. But now wonders what magic can be added with the interesting character of Eugene Xu, a quantitative analyst who created the first CDO market by matching buyers and sellers.

The filmmakers have assembled a more than apt and impressive cast. For one, Burry’s character, a true one is an ex-neurologist who created Scion Capital despite suffering from blindness in one eye and Asperger’s syndrome. One can see what attracted Christian Bale, who appears to be having a field day, to accept this role. Brad Pitt, barely recognizable with glasses and a goatee plays the anti-hero admonishing his two proteges that they should stop dancing after making so much money for the fact that people have lost their jobs and homes a s result. Carell and Gosling also add to the festivities.
For a film based on the worst financial disaster, director Adam McKay and gang might even make the losers shed a tear or two of laughter. An amazing film with an amazing treatment of the material.

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Movie Review: THE REVENANT (2015)

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the_revenant_posterTHE REVENANT (USA 2015) ****Top10
Directed by Alejando G. Iñárritu

Review by Gilbert Seah

Mexican director Alejandro Iñárritu’s (AMORES PERROS, 21 GRAMS, BABEL and last year’s BIRDMAN) THE REVENANT is a no-holds barred almost 3-hour wilderness adventure complete with all the violence of the wild west frontier set in the 1820’s. If one does not have the stomach for the grisly, avoid at all costs.

The film is based on the life of frontiersman Hugh Glass (Leonardo DiCaprio) based on a 2002 novel of the same name by Michael Punke. The plot of the film can be summarized in one line, remarkable considering the length of the film. Hugh Glass is left for dead by his fellow travellers after a vicious bear attack and subsequently seeks revenge on them for abandoning him.

The story contains a few subplots, like the one involving his quest for revenge. One of his fellow travellers is John Fitzgerald (Tom Hardy), a vicious, hardened criminal who ends up killing Glass’s son. Another youth, Andrew Henry (Domhnall Gleeson) is a good hearted drawn into the drama.

The film begins with a 15-minutes attack of the Indians on the fur trappers. It is an extremely violent segment, inspired no doubt by the similar lengthy beginning segment of the D-Day landing in Steven Spielberg’s SAVING PRIVATE RYAN. Both sides suffer heavy casualties. Glass, Fitzgerald, his son and Andrew escape with a few others before the crucial bear attack.

The bear attack sequence is no less violent and occurs not once but twice in all its horror. Silly rumours by some press describe the scene as a bear rape but one thing for sure is that there is no love in this attack.

Despite the simple plot, there are a few details that occur so fast that they are difficult to follow. But these are not essential to appreciating Iñárritu’s film.

Director Iñárritu is a well respected artist who have proven himself apt at working with different genres including Hollywood drama as in last year’s acclaimed BIRDMAN. In THE REVENANT, he workers with cinematographer Emmanuel Lubezki, together creating some of the most stunning images seen on screen this year. One has the men crossing the top of a water fall, another running across the shallow waters of tall trees and another at the film’s climax during a chase when an avalanche can be observed in the background. One can question the purpose of these, as the waterfall and avalanche have nothing to do with the story. But Iñárritu has earned his artistic licence to indulge in such excesses. But a few of his traits like the beginning chase camera shots used in AMORES PERROS are duplicated here in the chase scenes in THE REVENANT.

The performances of the entire cast is nothing short of superb. DiCaprio and Hardy excel, and credit should be given to these artists for working under the extreme conditions as shown on screen.

THE REVENANT succeeds admirable in being a stunning looking violet wilderness adventure. The film comes complete with a satisfactory ending, a fight between hero and villain with some spiritual highlights thrown in for good measure.

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Movie Review: Daddy’s Home (2015)

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daddys_home_posterDADDY’S HOME (USA 2015) **
Directed by Sean Anders

Review by Gilbert Seah

DADDY’S HOME is advertised as a movie with a dad vs. a stepdad. And in the words of the movie, the audience is to be shown the difference between a dad and a father.

As the film opens, a mild-mannered stepdad, Brad (Will Ferrell) is married to his new wife Sarah (Linda Cardellini) and living with her and her two children. The two children are yet to confide in him and Brad tries his best to be a good dad – poor soul. Farrell actually makes his audience sympathize with his character. Then enters Dusty (Mark Wahlberg), the real father who weasels his way into staying at the house. His main aim is to win his wife, Sarah (Linda Cardellini) and kids back. And Brad is too naive to realize what is happening.
The above story is nothing really special to write home about. The script is pretty lame and does not have much room for twists in the plot. What transpires is predictable. Dusty wins his children’s affection and Dusty tries too hard. Brad eventually, because of his good naturedness wins Dusty’s heart and together make one healthy family with two dads. It is a film where two males do their best to make annoying kids happy.

It is hard to make an unforgettable comedy with such a lame story. There is no big villain, no end of the world scenario and no action sequences. But given the limitations, the film does contain a few really funny laugh-out loud segments.

The film’s subplots are not that funny either. One involves Dusty inviting a black handyman, Griff (Hannibal Buress) to stay with the family. Another has Dusty bringing a mongrel, who obviously hates Brad, as a gift for the kids. And another has Brad’s boss, Leo (Thomas Haden Church) always having advice or a story to tell to Brad. These generate a few chuckles at most.

The film’s funniest moment occurs when it goes totally ridiculous – a characteristic of Will Farrell’s type of comedy. Brad tells his stepson who is bullied that to solve the problem is not to fight back but to do something else like a dance-off, with the added benefit that both parties end up getting fit. The climax of the movie is a dance-off which thankfully is really funny and almost saves the movie.

DADDYS HOME ends up a family film with few lewd jokes, the only one being Brad’s impotency as a result of a dental accident. Farrell and Wahlberg have worked together in THE OTHER GUYS and make a good team, all things considered. Hopefully, they will team up again in a film with a better script.

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Movie Review: SISTERS (2015)

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sisters_posterSISTERS (USA 2015) ***1/2
Directed by Jason Moore

Golden Globe hostesses Tina Fey and Amy Poehler have proven themselves apt at comedy whether on their own or as a team.

SISTERS, drawing largely from Saturday Night Live type comedy, is a mix bag of tricks, but thankful succeeds.
Fey and Poehler play sisters. Both are goofballs. When the film opens, each comedienne is given the opportunity to strut her worth. Poehler begins as Maura, a nurse earnestly providing aid outside a supermarket to a homeless man. Not only are her antics useless and embarrassing, but the homeless man turns out to be a construction worker. She is finally told to ‘f***-off” by the supermarket manager who she mistakes for a bag lady. This 5-minute action is actually the film’s funniest segment as nothing else beats it. So when the next segment shows Fey as her sister Kate, a jobless beautician fumbling a client at home while her daughter Haley (Madison Davenport) suddenly appears, it becomes immediately apparent that this mildly funny next 5 minutes are no match for Poehler’s. But when the two appear together, they rub off each other, so Poehler becomes less funny while Fey becomes more. The two also work hard to complement each other, whether in comedy or in dance as a later musical number shows.

The story concerns their parents Deanna (Dianne Wiest) and Bucky (James Brolin) selling their family house in Orlando. The sisters are called in to clean up their room. As it turns out, they decide to throw one last big party. Kate agrees to become the party’s house mother (which means no drinking) while Kate gets to catch up on her missed partying. Kate’s daughter turns up. Kate finds the daughter/mother relationship stretched and tested even more when she finds her sister has been harbouring the secret of looking after Haley.

Many comedies are spoilt by sentimentality or the drama of the underlying story. In SISTERS, director Moore and writer Paula Pell (a SNL veteran) do not, thankfully fall into this trap. They realize the comedic potential of the party. The party becomes the film’s main focus lasting half of the film’s running time. One high jinx follows another, and an impressive cast of goofy partygoers are assembled that create quite the few laugh-out loud segments. The supporting cast are surprisingly funny, matching and in a number of segments, getting even more laughs than Poehler and Fey. John Leguizamo’s sleazy ex-alcoholic Bobby Moynihan, Oscar Winner Wiest’s foul-mouthed angry mother and John Cena’s bulked tattooed drug dealer are all exceptionally funny. But top prize goes to Maya Rudolph (the bride in BRIDESMAIDS and the secretary with the helmet hairdo in INHERENT VICE) as the self-invited guest who decides to ruin the party. It is about time Rudolph gets a lead in her own movie.

There are a few incidents that make little sense, like a guest putting in the whole bottle of laundry detergent in the machine resulting in suds filling the house. This scene is reminiscent of Blake Edwards’ THE PARTY in which Peter Sellers finds his party filled with bubbles as well.

Ultimately, it is the hit-and-miss ratio that counts. SISTERS has a high one. SISTERS works, and proves that the ladies can come up with an equal if not better bad behaviour movie than their male counterparts. (Seth Rogen and gang in the recent THE NIGHT BEFORE.).

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Movie Review: THE LADY IN THE VAN (2015)

festreviews 2015 movies, comedy festival, movie, Movie Review, Uncategorized, writing and film festival , , , , ,

the_lady_in_the_van_poster.jpgTHE LADY IN THE VAN (UK 2015) ***1/2
Directed by Nicholas Hytner

Review by Gilbert Seah

There are several reasons to watch the new Maggie Smith, Nicholas Hytner and Alan Bennette collaboration of THE LADY IN THE VAN. For one, it is based mostly on a true story – the words that appear on the screen at the film’s start, signifying a modest comedy on life. And with an equally number of pleasures as well to be derived from the film.

Adapted from the based-on-fact hit West End play by Bennett (best known for THE MADNESS OF KING GEORGE), the film’s title referring to a high-born homeless woman, known as Miss Shepherd (Dame Maggie Smith) fallen on hard times who finds temporary shelter parking her van in Bennett’s driveway — for fifteen years. It is a chronicle of the unlikely friendship between the writer (played by Alex Jennings) and the elderly eccentric who takes over his driveway.

The play and script is smart enough to have two protagonists – Miss Shepherd and Bennett. Bennett is seen as a double in the film. As explained – there is the man that writes and the one that lives. They speak to one another, the equivalent of the man talking to himself. He gives himself a perspective of his life, humorously as well as dramatically. He is a timid fellow, kind enough to look after his ailing mother as well as Miss Shepherd. In contrast, Miss Shepherd is ornery, impolite, and bullying Not all there, she claims to take advice from the Virgin Mary. And she smells bad. There is a mystery about the woman that is kept from Bennett and the audience but all is revealed by the end of the film. But Bennett, despite his very private nature, takes pity on her and says she can stay there for three months.
Miss Shepherd is seen to be one that hates music. She screams and scares away children that play music outside her van. But she has studied music in Paris and plays the piano. The reason for her current behaviour is an intriguing one, and one that Hytner uses to full effect.

But besides being a film about friendship and old age, it is mostly a film about life. The film depicts the bit seedy yet very respectable London neighbourhood of Camden Town (on the Northern Tube line). (I am proud to say I have lived there – though as a tourist and guest for 15 days and the film brings a good effective feel in of neighbourhood chivalry and friendliness.) The message about life in the film is an obvious one, though one mostly ignored. It is stated clearly at the end – to love life is to start living. It is, put subtly, in the writing of Bennett’s character – that he is not to put himself in the writing but to find himself in the writing.

Maggie Smith bares all in the film and she is not afraid of looking old, haggard and ugly for the role. It is a completely different role from her Oscar winning THE PRIME OF MISS JEAN BRODIE. She would get my vote for her second Oscar.

THE LADY IN A VAN is a tale of life, playfully funny and authentically set in Camden Town, London. Great performances in a film relatively well directed from a clever script full of ripe dialogue.

the_lady_in_the_van_yellow_van