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.
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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.
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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.
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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.

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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. 

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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.

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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.

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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.
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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.
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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.
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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.
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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.
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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.
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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.

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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.

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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.

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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.