Sunday Roundup I

Good evening! In order to ensure I maintain at least a shred of commitment to this blog, as well as to alleviate the boredom that accompanies the Sabbath day, I decided I would aim to do a weekly round-up of the films I've watched, complete with mini-reviews and recommendations. Admittedly, I couldn't have picked a worse time to start, for three reasons: 1. It's a Monday. My sleeping pattern doesn't allow for scheduling 2. I only started this blog on Saturday, so it's not like I've got a vast amount of films to talk about and 3. I won't be doing it next Sunday as I'm hoping to liveblog the Oscars then instead. So far, so bad but I thought I'd give it a shot anyway. I've managed to watch four films since Saturday (one of which was for my dissertation, something I'll discuss in more detail in a few weeks) so here's a few quick reviews.

TINKER TAILOR SOLDIER SPY (2011)

Shamefully, I've never seen the Alec Guinness TV adaptation of Tinker Tailor Soldier Spy so I'm unable to compare the two. However, I'm not sure it really matters too much. Tomas Alfredson's adaptation is a slick and, for the most part, accomplished film that doesn't come without some major weaknesses. Though it is tough to fault the performances - Oldman is excellent as George Smiley and is well supported by a host of quality stars, such as Benedict Cumberbatch, Colin Firth and even Kathy Burke - the movie itself is a bit hit and miss. Not only does the story take an age to get going but when it finally does start moving it is quite heavy and confusing, which isn't helped by the non-linear structure. However, don't let you put this off. Though a tad too long (at just over two hours), it is worth perservering with simply to witness how the characters evolve and the details fall into place. There is a strong focus on the human side of those working for the secret service without which the film really would be a drag. If you're looking for a high-stakes action thriller then this film definitely isn't for you. However, if you're looking for a decent, subtle spy movie rich in character development and well-performed by all involved, you can't go too far wrong with Tinker Tailor Soldier Spy, despite its obvious flaws. 7/10

MIDNIGHT IN PARIS (2011)

At just ninety minutes long, Midnight In Paris is a charming, elegant tale that suffers from being just that little bit too short. Whilst the first hour is a witty and at times quite beautiful story about nostalgia and love (with director Woody Allen's presence, and his admiration for Paris and the culture of the 1920s felt throughout), the final half-hour feels rushed and a bit of a letdown. Though I wouldn't quite label it a 'return to form' for Allen, namely because it lacks the subtlety of some of his best works, Midnight In Paris is both funny and touching. The plot is handled with care and the performances are a joy to watch. Owen Wilson, an actor whom I've never really had any time for at all, is excellent as Gil and fits into the socially awkward lead role that Allen's films are pretty much famed for with ease. Despite the problems with the last half-hour, it is difficult not to be enthralled by Midnight In Paris. Allen uses Paris' aesthetic beauty to its full effect and taps into the nostalgia for a non-existant golden age that is so intrinsically human the way only a director of Allen's experience and ability can. It's by no means a masterpiece but Midnight In Paris is a fine piece of cinema that anyone with any appreciation for *decent* romantic comedies should really see. 8/10

It's impossible not to fall immediately in love with Paris and Allen uses the city's natural elegance and charm to hook his audience from the off.

HALLOWEEN (1978) *DISSERTATION*

If one was to find fault with Halloween, it would surely be that John Carpenter can't be forgiven for starting a trend that lasted almost fifteen years - a trend that ultimately produced as few as ten good films and thousands of fucking awful ones. That trend is commonly known as the 'modern day slasher movie'. Considering so many films pay homage to Halloween, it's a miracle that they've managed to be so awful when Halloween is so breathtakingly good. It's not big on budget and there are times when the scenes come across as a bit clunky and cheap. And yet, Carpenter manages to strike the perfect balance between thrills and chills, creating a film that is never boring and is, to this day, really quite terrifying. Donald Pleasance and Jamie Lee Curtis are excellent in their prospective roles as Dr. Loomis, the determined and slightly deranged counterpart to the film's killer, and Laurie Strode, the epitome of the now common 'final girl' trope. Aided by one the greatest soundtracks in cinematic history, a director who knows exactly how to ratchet up the tension and a fine cast of supporting stars, all of whom are properly fleshed out, Halloween is the perfect seventies horror flick. Considering just five people (and two dogs) end up dead, compared to films such as Friday The 13th, where endless streams of non-descript teenagers end up being murdered in the same, nonchalant and utterly boring manner, it is a testament to Carpenter's skills as a director and the strength of the performances that Halloween is considered such a classic. And rightly so. 9/10


One of the most perfectly crafted chase scenes in horror movie history. THE HELP (2011)

It's easy to see why three of The Help's stars have been nominated for Academy Awards. Though the themes and plot of the film are clearly driven with awards season in mind, this doesn't take away from the fact that it is an accomplished and powerful piece of cinema. The issue of race and the vulgar discrimination black people - in particular black women - suffered in 1960s Mississippi is handled both courageously and sensitively, with a warming mix of humour thrown in to ensure that realism is maintained throughout. Tate Taylor (as both director and writer) is careful not to turn the characters into stereotypes, instead managing to create a complex hive of people, each of whom suffers in their own personal, often subtle way. Viola Davis and Octavia Spencer are dazzling as the eternally suffering maids of the white Mississippi elites, whilst Jessica Chastain truly dazzles as Celia. Recognition too must go to Emma Stone as Skeeter, the likeable (if not ever-so-slightly one dimensional) woman who wants to write about life from the perspective of the maids and Bryce Dallas Howard, who plays perhaps the film's most complicated and vile character, portraying perfectly the face of "acceptable", surburbanite racism. Despite its length, The Help is entertaining throughout and were it not up against some stiff competition this year would probably do quite well at the Oscars. 9/10