Rubber (2010)

This film is weird. Really weird. Let's get that out of the way up front. This is a film about a killer tyre. A tyre that gains consciousness, and rolls into the world making people's heads explode using its telekinetic powers. But it also a very self-aware film, that uses this ridiculous premise to comment on the medium of film as a whole. It starts with a sheriff (Stephen Spinella) delivering a straight monologue to you, the viewer, in which he posits that things happen in film for no reason, and as such they shouldn't be expected to make sense. Soon after we are introduced to a group of spectators gathered in the desert, they are handed pairs of binoculars and asked to start watching. Then for the remainder of the film they watch the action unfold and frequently comment upon it as an audience. However they also exist within the film and interact with some of the characters and events. It is an extremely meta way of approaching the concept, but one that helps keep it fresh and self-depreciating throughout.
.
As the tyre (or Robert as we are informed upon the closing credits) wreaks his path of destruction through a small desert community, we interact with many of the people who live there, but never in any great detail. The focus is always on the tyre, and as silly as it sounds, it (he?) puts in a genuine performance. The mix of animatronic and real is cleverly disguised and the way that a simple inanimate object is given a personality, and in the early scenes as he learns about his powers, it is very funny, but also engaging. Director and writer Quentin Dupieux (also known as music DJ Mr Oizo) puts his unique spin on every aspect of the film, and shoots it well with an obviously limited budget.
.
The film feels like an experiment, and at times it is very successful. It constantly surprised me and frequently made me laugh. My main issues with the film resolve around it's lack of a central character or storyline. Effective as the tyre is there is little in the way of ongoing narrative, and as such no real characters to root for or engage with. As such individual scenes work well, but as a whole it doesn't quite gel. Still I would take an interesting but flawed film over something boring and safe every day of the week, and there is enough here to recommend for those who are happy to broaden their film palette.
.
It's difficult to say too much more without discussing specific scenes and ideas, and I don't want to spoil a film that works better the less that you know. Thinking back on it now I find myself with somewhat fonder memories than maybe I had at the time, largely at the ambition and gall of what Dupieux managed to create. A film that shouldn't work at all, and that somehow opens entire conversations about film narrative, whilst also working as a trashy slasher film of sorts. It may not have fully come together, but Rubber is a filmic oddity, definitely worthy of your interest.

The Fighter (2010)

Based on a true story, The Fighter tells the story of Micky Ward, a small time boxer in the 1980's whose career has always been overshadowed by that of his brother, Dicky. When the chance comes to revive his flagging career he faces some tough decisions regarding family and success.

.

For all the familiarity that the underdog sports story holds inherent, it is one of The Fighter's biggest strengths that it feels fresh and new. Director David O Russell is a tough one to pin down stylistically, from the bizarre existential comedy of I Heart Huckabees, to the powerful war commentary in Three Kings he has always flirted with the edges of the mainstream. Here he brings a documentary authenticity and grittiness to Micky's story ably assisted by a cast that gives top notch performances across the board. Mark Wahlberg is someone that blows very hot and cold, but in this his third film with O'Russell he impresses, imbuing Mickey with his trademark quiet compassion, he plays decent better than most actors, his openness a window through which the events of the film unfold. The stand out performance though has to be Christian Bale as Dicky, his drug addict former boxer brother. Taking the role as Micky's trainer he is a bundle of raw energy, a tragic figure fixated on his claim to fame (that he once knocked down Sugar Ray) and an eternal headache for the family. What is so impressive about Bale's performance is how true it rings, he brings Mickey to life not as a caricature, but as someone recognisable. A man of weakness who fails to see the impact his lifestyle has on others. It is a heartbreaking turn at times, but never showy. 

.

Amy Adams plays Charlene, a local bar girl who Micky starts to date, and whose involvement in his career drives further wedges between him and his family, specifically his six sisters who present a formidable force. Adams is as good as ever here, showing a wonderfully trashy side that convinces. Charlene gives as good as she gets, but she also makes you understand why she would be drawn to Micky. Often when actresses dress down in this way it feels like a performance, here though like everything in the film, it feels genuine and true.

.

Despite the film being technically a sports film, the boxing takes a backseat to the character drama, and wisely so. This is a nicely small scale film and treats its subject matter with respect, but not reverence. These characters are not saints, they are flawed, jealous and hurtful at times, but they are also family and it is this bond that connects them and that Russell wisely focuses on.

.

I was extremely impressed with the film, it stands as one of my absolute favourites from last year. Everything about it just works, it feels effortless and has that pull of a great story, perfectly told. Despite it using a potentially tired format, the film never feels predictable and always undercuts the emotion just right, to the point that it left me with a big smile afterwards, and a lot to think about. A perfect storm of cast, director and story this is a film that you should check out, regardless of your interest in boxing. It is a human film. An honest snapshot of a remarkable story.

Source Code (2010)

Following up a surprise cult hit is never an easy task, let alone moving into the relatively big budget, mainstream space, but it is something Duncan Jones has made look easy. His first film, Moon, was a terrific little sci-fi fable, which was smart and nicely low key. In contrast his follow up, Source Code, is much more in the mould of other brain twisting sci-fi fare but still shot through with supreme confidence and again features a great central performance, this time from Jake Gyllenhaal.
.
Jake plays Colter Stevens, a soldier who wakes up to find himself in the body of another man, on a train. Before he has much time to investigate exactly what is happening the train explodes and he finds himself in a strange test chamber. He discovers that his mission is to go back and re-live the last eight minutes of this man's life in order to find out who bombed the train, so that they can be caught in the present before any more attacks can happen. It is a neat premise, deftly handled and the opening of the film in particular is a great example of a film drip feeding you information and keeping you guessing as to what is actually going on. Wisely the film, for the most part, avoids too much detail of the scientific process, it is a means to an end and works as such (in a similar way to the sleep technology used in Inception). The premise of reliving the same period of time over and over is one that has been explored before (Groundhog day immediately sprang to mind when watching the film) but the combination of this with the mystery makes the film become a strange sort of whodunnit with Stevens eliminating people on each visit, getting closer to the truth.
.
Throughout the film Gyllenhaal anchors the film, his mix of roguish charm and physicality make it very hard to imagine anyone else in the role. After a few recent disappointments (Prince of Persia anyone?) this feels like the movie star turn he has been always capable of making. Between him and Duncan Moon the film manages to tread a very neat line between action, drama and entertainment, there is plenty of comedy in the film, but it never takes away from the characters or the situation. It would be easy for a film like this to become weighed down by it's ideas, or too flippant but somehow, for the most part, Source Code avoids these pitfalls and is just a blast to sit down and enjoy.
.
The film also benefits from the strong supporting cast, I have always liked Michelle Monaghan and she brings a warmth to Christina, the passenger Stevens finds himself sitting next to every time he jumps. The relationship that the two build is sweet and nicely underplayed. On the military side Vera Farmiga and Jeffrey Wright both impress as the military personnel running the program, and having to coax Stevens into helping them out.
.
It is disappointing then that the film, which is strong throughout, botches the ending somewhat, carrying on for a good 10 minutes too long and muddying the waters of what has come before. It is a shame as the actual climax of the film is executed well, but is then almost spoiled by the extended epilogue. Still Source Code as a whole remains a remarkably achievement, it is a smart and enjoyable original sci-fi film that has enough to chew on for more thoughtful viewers and plenty of mainstream appeal as well. From this evidence Moon was no fluke and I am fully on board with whatever Duncan Jones decides to do next.

Extract (2009)

Mike Judge is one of those creators whose sensibilities filter into all of his work in a very distinctive way. The mind behind Beavis and Butthead, King of the Hill and the cult classic movie Office Space he has a penchant for the outsider and a very distinctive take on the world. Despite firmly parking his bus in the comedy genre Judge has a very low-key attitude to the material, something again on show on his latest film, Extract. Jason Bateman stars as Joel Reynolds, a reasonably successful businessman who owns a factory that produces extract. The film follows him as a variety of events disrupt his life, primarily kicked off by the introduction of Mila Kunis's Cindy, a con artist whose affections he seeks in the wake of his unsatisfactory marriage (to the always funny Kristin Wiig). I won't dig into the various machinations of the plot as half of the fun of the film comes from seeing it subvert expectations. Judge is never one to got for the big obvious laugh or set piece, he is much more interested in character and as such I found myself constantly unsure of where the film was heading.
.
He is ably helped by the stellar cast, Bateman does a great line in the beaten down everyman and he imbues Joel with real sympathy even through the increasingly poor choices he makes in the film. Ben Affleck pops up as his druggie bar tending best friend and the catalyst for many of the aforementioned bad ideas. Affleck clearly relishes the chance to play a very different part to normal, and his hippie beard and laid back attitude are constantly very funny. What is nice about Judge's work is that he allows the wider cast of characters their time to shine, from Anchorman's David Koechner as the worlds most annoying neighbour, to JK Simmons always amusing manager at the factory. Most of these characters are well are well served by the story, the ending tying most loose ends up in unexpected but fitting ways.  I do feel that the Cindy character is rather short changed by this though, like Judge didn't really know how to end her story and it's a shame to see Kunis left somewhat adrift at the end of the film.
.
On the whole Extract is a small film, by intention. It is gentle and amusing, but rarely laugh out loud funny. Judge is a less competent director than he is writer and while it looks fine, there is little about the film that is very cinematic or visually interesting. As such the film works a lot better at home where the small screen setting fits the story's nature. Extract won't be looked back on with the same reverence as Office Space (or more recently Idiocracy) it is something of a minor work, but amusing and interesting enough to be worth your time.

Manhunter (1986)

Before Jonathan Demme brought Hannibal Lector to life so memorably in Silence of the Lambs (with a little help from Anthony Hopkins) there was Michael Mann’s Manhunter, an adaptation of Red Dragon (which itself would later be remade starring Hopkins). Whilst this is a Lector story (here spelt Lektor curiously enough) he exists largely on the film’s periphery, instead the focus of the film rests on FBI Agent Will Graham (William Peterson), who is brought out of semi-retirement, imposed after he arrested Lektor, but was injured in the process. Still vulnerable and scarred (literally and mentally) from the encounter he is tasked with tracking another serial killer on the loose, who attacks every full moon, giving a nice sense of urgency to the investigation.

.

I’m generally a big fan of police procedurals, and Mann creates a compelling and mysterious case right off the bat. Peterson is a great foil for Lektor in the film, his brilliance offset by his nature of getting too deeply involved in his cases, the time period of the film also allows for a more down to earth investigation with few of the high tech gadgets and information that you would find nowadays. Mann’s sense of mood and atmosphere is ever prevalent, the neon cityscapes and shady locations ably amplified by the fantastic electronic score. The film is unmistakably of its time, but works all the better for it, the synth soundtrack menacing and distinctive.

.

Brian Cox does a good job as Lektor in the film, it’s a little strange now to view a different take on the character (even though his came first) but he captures the intelligence and underlying danger of the man effectively. It is in the psychological that Lektor is most effective and the film wisely sticks to this as he slowly starts to get under Will’s skin. The main villain of the piece though is played by Tom Noonan and he makes a convincing loner. The film spends a surprising amount of time with him, focusing on a budding relationship he forms with a blind woman from his place of work and somewhat humanising (or at least explaining) his compulsions.

.

At its heart Manhunter is just a damn good detective film, it is constructed with a confidence and a sense of pace that draws you in to the end. Even though I had seen Red Dragon previously (and remembered very little) the film felt fresh and unfamiliar which could also be seen as a slight on the quality of Brett Ratner’s remake. This is a great film that can rightfully stand alongside Silence of the Lambs as an effective thriller, and as a cinematic depiction of cinemas most famous serial killer.

Winter's Bone (2010)

Set in the remote and destitute Ozark country in central America, Winter's Bone is simple story, powerfully and effectively told. 17 year old Ree Dolly (Jennifer Lawrence) struggles to look after her younger siblings, with an absent father and sick mother her situation comes to a head when she finds out one day that she is at risk of losing the house, unless she can track down her drug dealing father and get him to the sheriff in time for his trial. From this simple premise Winter's Bone paints a disturbing and fascinating picture of this remote community, with its long buried secrets. The unforgiving bleakness of the environments and weather extends to most of the population as well, as Ree seeks out distant relatives and associates of her father she begins to dig into things that are best left alone, putting herself in real danger.
.
In the lead role Jennifer Lawrence is very impressive, she convinces as Ree, the lost and scared girl who has been forced to grow up too fast, letting her steely outer shell give way to an inner heartbreak. She is a reluctant heroine, a million miles away from the plucky teenage girl she might have been, instead she has a beaten down resolve that propels her forward, almost instinctively. The supporting cast does a great job of populating the community with real characters, the film makers do a good job of negotiating away from mountain-town stereotypes and even the nastiest characters have an authenticity to them  that was unexpected. The stand out though is John Hawkes who plays Ree's uncle. He starts out violent and unpredictable but slowly warms to Ree's plight. It's probably the nearest the film has to any kind of character arc and it is constantly affecting.
.
The film is handsomely constructed, the cinematography evocative and scary, the trees that line the town constantly foreboding and intimidating. There is a palpable sense of danger and unease throughout Ree's quest which is compelling, but leaves the film feeling quite bleak and tough going at times. In some way I feel I admired the film more than I loved it, which was a shame. It is hard to fault on a technical level, but something about the story never quite drew me in as it might have. The film is quite slow as well, and the lack of sympathetic characters can cause it to drag, even the climax is remarkably subdued, the emotions always kept in check.
.
Winter's Bone is not your standard thriller, or coming of age story. It mixes elements of both with a sad and low-key story about family and the secrets we keep, I just wish it had resonated with me on a deeper level.

The Hole (2009)

Joe Dante is one of a handful of directors from the 1980's whose careers have all  but disappeared in the past two decades. The Hole returns to many of the themes and ideas that he mined so successfully in films such as Gremlins and Explorers, mixing a great kids adventure with elements of horror. In fact the whole film feels like a throw back to the 80's, which I really enjoyed. I'm a sucker for films focusing on kids investigating mysteries in suburbia, a genre that Disturbia recently utilised to great effect.
.
As seems typical for these films it centres around a single parent family that moves to a new neighbourhood. Needless to say eldest son Dane is less than impressed, constantly frustrated by his younger brother (Lucas) until of course he meets the attractive girls next door and discovers a bottomless hole in the cellar (naturally). The titular Hole then becomes the focus of the film as all sorts of creepy things start to happen as the kids try and work out just what the previously bolted trapdoor was keeping out, and how they are going to stop whatever it is they have unleashed on the neighbourhood. What is especially smart about the film is that plays everything fairly low-key, this is not some world-ending disaster but more of a personal story focusing on each character's reaction to what is going on. There are no big names in the film (there is a nice Gremlins-related cameo to check out though) but the kids all do pretty well, they work well together and I found myself getting drawn into their investigations.
.
The film starts slow and takes a while to get you involved, it felt quite TV-movie like early on, but as soon as the hole is discovered in the basement things pick up. There are some effective scares in the film, and some genuinely creepy moments, but Dante does a good line in bordering the horror with the adventure and sillier elements of the film. At its best it feels like a forgotten gem from your childhood, a film that feels familiar but comforting at the same time. Admittedly there are parts of the film that fall flat, the typical crazy old man shows up about half way through to try and offer some explanation to the kids, all the sections with him feel disconnected from the film and unnecessary. Similarly while I admire the ending of the film, and actually like it from the story point of view, some of the films budget limitations become quite apparent, and what is supposed to be a nightmarish dreamscape looks more like a cheap Tim Burton movie. 
.
But even through this I really enjoyed the film, the enthusiasm of the kids and the pace of the story keep it moving well and satisfying overall. In the scheme of things The Hole may not rank up there with Dante's best films but it is a distinctive sign of life and a welcome return to form after many years in the wilderness. On this evidence I look forward to whatever he decides to do next.

The Secret of Kells (2009)

This small, but perfectly formed, piece of animation first came to light when it appeared on the nominations of Best Animated Film at last years Oscars, and after checking it out it is very easy to see why. Told in a gorgeous and unique style the film tells the story of the fabled Book of Kells, as painstakingly written out by the scribes and scholars of a small medieval outpost. The film follows Brendan (ably voiced by Evan McGuire) an inquisitive boy who harbours desires to explore outside of the large fortified walls his Uncle is building around the town, to ward of impending Viking attacks. Though dealing with what could be rather dry material, the film does a great job of being thoroughly entertaining, but also thoughtful. As most of the outpost prepares for the upcoming battles Brendan instead starts being taught in the ways of the scholars, and he also manages to befriend a woodland spirit outside the compound, in some of the films most inventive and enjoyable scenes.
.
It's hard to get much further into this without once again focusing on the films remarkable visual style. Using the real-life Book of Kells as an inspiration the has an extremely stylised and colourful palette, full of geometric shapes and intertwined patterns. The colours seem to blend and pop as well, if you have a blu-ray player then I urge you to check it out as the cleanness of the lines and detail really come to life. This style then informs the film and truly make it unlike any other modern animated film. It fits the story as well, as it is a small quiet film that plays well to children, but also deals with some heady issues. It is about as far from the loud, wacky CGI cartoons of recent years as you can get, and I appreciated it for that.
.
The film is short, but doesn't feel rushed. It manages to introduce a host of interesting characters and tell a fun tale, and some of the decisions made late on surprised me and subverted my expectations, which is always a good thing. Another things the film does well is make good use of the abstraction of animation, the Viking enemy for example is never mentioned by name and shown as silhouetted ominous figures that are genuinely imposing and threatening. There is a palpable sense of danger that is rare in animated films, and this is because of the films more adult approach to the emotional sides of the story, something that has helped it linger in the mind in the days since I saw it. 
.
I don't know if the film is one that I will ever revisit, but I found it a surprisingly enjoyable and unique experience and given the hegemony of most animated films these days, that is definitely something to be applauded.

Knight and Day (2010)

Tom Cruise has, for a while, been a divisive figure at the box office. Once arguably the biggest star in the world, some questionable film choices along with the rabid interest in his personal life has lowered his profile somewhat. Knight and Day is his latest effort to recapture some of what made him so popular in the first place, a breezy romp of an action film in which Cruise gets to look cool and save the world.
.
Director James Mangold, who helmed the pretty decent remake of 3:10 To Yuma, provides the film with a much lighter tone than similar action fare, the film is flat our ridiculous and knows it, the film kicks off with an improvised plane landing and only gets stranger. Cameron Diaz plays June, an ordinary mechanic (just go with it) whose rather mundane life is shattered when she comes into contact with Roy Miller (Cruise) a secret agent on the run. Cue plenty of car chases, doubles crosses and plot shenanigans right out of the James Bond playbook. Both Cruise and Diaz give it their best, Cruise's slightly manic charisma and energy is here in full effect and he makes Miller a suitably unhinged force of nature. Diaz fares less well, she hardly convinces as a boring, ordinary girl, but she has an easy chemistry with Cruise and her goofy charms serve the tone of the film well.
.
Peter Sarsgaard, Paul Dano (sporting a hilarious beard) and Maggie Grace all provide support, but the film largely keeps them on the periphery, focusing instead on the two main stars. However the film's main issue is that it just isn't that memorable, there are few stand out scenes or creative set-pieces. It is entertaining enough to sit through, but there is little here that doesn't stick to well tested formulas. It seems to be common for these buddy action films of recent years to all fall into these same patterns, familiar yet ultimately forgettable. Once again there is no really memorably threat or adversary for them to team up against, and the outlandish nature of the stunts and situations can work against the film, lowering the stakes and removing any sense of realism.
.
Knight and Day clearly wants to be a painless and enjoyably silly riff on the secret agent action movie, and to some extent it succeeds, it's just a shame that at times it feels more like a vanity outlet for its stars than a film with anything new or interesting to add to the genre.

Cyrus (2010)

Both John C. Reilly and Jonah Hill have spent the last few years heavily involved in the Apatow comedy circuit, yet those going in to Cyrus expecting a similarly raucous affair will be disappointed. As much a drama about loneliness, and family Cyrus is a gentle comedy at best, one that is sweet and strange and low-key, and all the better for it. 
.
Reilly plays John, a divorced man whose life has been on a downward spiral in the years since the split. He still sees his ex (played warmly by the venerable Katherine Keener, who must have it in her contract to appear in every indie film at the moment) and her new husband. At their bequest he goes to a party one night and meets Molly (Marisa Tomei), the two get along and, much to John's surprise, start seeing each other. But there's a problem, Molly's son Cyrus, played with surprising menace and nuance by Jonah Hill. Right from the off there's something not quite right about Cyrus, and yet the film never takes the obvious route in making him either the villain, or one dimensional. He is manipulative, but insecure and afraid, his somewhat uncomfortable relationship with Molly evident in his behaviour.
.
Again it is to the film's credit that it never goes for the big set piece, or over the top gags. It keeps it real and small as John cottons on to Cyrus's intentions and their competition escalates. All through this Hill and Reilly do great work, Hill in particular is a revelation, playing this disturbed and haunted man-child in a way that still elicits sympathy. Equally Reilly's ability to go from playing broad comedy, to sincere drama in a heartbeat serves him well here and his earnestness makes you route for John throughout. Despite this it is Tomei who arguably has the toughest role in the film, as she largely takes a backseat to the others, yet must remain convincing as the person they are effectively fighting over, something she does effortlessly. She is warm and sweet, but human as well, over protective and blinded to her son's problems, adorable as she is, she never fails to convince. 
.
At the end of the day Cyrus is a small film, it has few characters and is more concerned with the little ways in which people relate to each other, and the ways we value our friends and family, than making any great point about the world. It is a funny film, but rarely laugh out loud, and it's not afraid to shy away from some of the darker sides of the emotional spectrum either. I enjoyed it for what it was, a refreshingly human comedy with something to say.