In a world much like our own being single has become tantamount to a crime. Anyone finding themselves unattached through divorce, death, or simply unsuccessful dating must go to The Hotel. There they have 45 days to find a partner, essentially someone who shares one distinct trait with them, or be transformed into an animal of their choice. The Hotel is run by Olivia Colman who gives lectures on why being in a couple is a good things and how it might prevent you from dying or being raped. The message here is clear; if you are single you might as well not be human.
Out in the forests hides an outcast group who cannot live in polite society anymore. This group is known as the Loners and are led by a militant Léa Seydoux. In this group being in a couple is the ultimate betrayal and even kissing or flirting are punished violently. Independence is the only valuable attribute and each Loner is even expected to dig their own grave in case they die. Running away to join the Loners is your only alternative if your time runs out at the Hotel and you want to keep your human face.
Our guide through this peculiar world is David (Colin Farrell) who reluctantly checks into The Hotel at the start of the film with his dog-shaped brother in tow. He has 45 days to find himself someone with a matching distinguishing feature or he will find himself transformed into a lobster; the logical form to choose for his post-human years. Inside the hotel he is joined by a limping man (Ben Whishaw), a woman who has nosebleeds (Jessica Barden), a man with a lisp (John C. Reilly), a woman who loves biscuits (Ashley Jensen), and a heartless woman (Angeliki Papoulia). All of them, barring perhaps the heartless woman, are desperate to find whatever passes for love in this world. Meanwhile out in the woods the likes of Michael Smiley and Rachel Weisz do their best to be friendly but not flirty and evade capture from The Hotel’s residents. The cast is crammed with a fine selection of British actors and it is a great endorsement that director Yorgos Lanthimos chose to make this film in the UK rather than the US.
Yorgos Lanthimos has brought his distinctly dry humour to his first English-language feature. As you can presumably tell from what I have described the film forms a scathing satire on the modern world of dating and selecting a partner out of desperation based on the most trivial of compatibility criteria. Every line spoken in the film in done so in a completely deadpan manner making the more absurd dialogue seem sane and turning mundane conversation surreal. I got the distinct feeling that Lanthimos has looked at the world, found it ridiculous, and wants to show us the insanity he sees.
The Lobster is an incredibly funny and smart film. It takes the norms of our societal rituals and expectations and blows them up to be seen for the madness that they really are. The film has a lot of clever ideas and humorous moments and is a pleasure to watch but struggles when trying to thread a plot through all the metaphor. This being a film about love it can’t resist having a love story rear its ugly head. The romance in question is sweet but the insistence on deadpan delivery dampens any emotions. That said the muted nature of the romance adds to the general mood and message of the film so is far from out of place.
The Lobster will provide you plenty of chuckles and a few wry knowing smiles and is a unique confection from one of our most creative modern filmmakers. Once you’re in sync with the film’s unique rhythm you’ll be lost in its world.
Lobster screens at the festival again on the 15th October but sadly has sold out. Luckily it is released on the 16th anyway so not to worry.
Mary Poppins is a special film for me; it is one of those childhood films that I have watched countless times and so holds a special place in my film-loving heart. Because of this a film about the creation of the classic musical is not going to have to try very hard to win me over. That said I wasn’t expecting Saving Mr. Banks to get to me so much that I’d have to start keeping a tally of just how many times I had cried. From the opening moments when a piano played the film’s overture to the closing credits I was a mess.
Saving Mr. Banks covers the period in Disney’s development of Mary Poppins when the original novel’s author P.L. Travers (Emma Thompson) reluctantly travelled to Disney studios to work on the script and decide whether or not she would finally be willing to relinquish the rights. Travers did not want any singing or animation in the film and generally disapproved of any attempt to Disney-fy her book so screenwriter Don DaGradi (Bradley Whitford) and songwriters the Sherman brothers (B.J. Novak and Jason Schwartzman) were given a hard time by a woman who was not afraid to speak her mind. Walt Disney himself (Tom Hanks) was heavily involved in the project as if he couldn’t get Travers to sell him the film right he would be breaking a promise he made to his daughter decades earlier.
Alongside the story of the making of the film we see flashbacks to Travers’ childhood and meet the inspiration for Mr Banks, her father Robert Goff Travers (Colin Farrell) and for Mary Poppins herself (Rachel Griffiths). While the scenes at Disney are mostly fun and played for laughs, as Travers’ British bulldog nature comes to clashes with the cheery American sensibility of Disney and friends, the childhood scenes gradually turn from lighthearted antics to an all more serious nature. By the end of the films things have all gone a little bit tragic as we see the real reason Travers wrote the book and why she is so defensive about any changes Disney wants to make.
This being a Disney film about Disney they obviously don’t come out too badly but they are brave enough to poke a little fun at themselves and their overly cheery nature. In one scene Travers says to a stuffed Winnie the Pooh bear “Poor A. A. Milne” which shows they aren’t censoring the real writer’s disdain for Disney adaptations. As for the cast, everyone is firing on all cylinders as Emma Thompson once more manages to break the whole audience’s heart simultaneously with a single subtle look, and even Colin Farrell pulls of both comedy and pathos convincingly. Worth noting that Paul Giamatti rounds out the cast as Travers’ chauffeur who slowly wins her over with his sunny charm.
The combination of the dramatic childhood scenes, the heartwarming period at Disney, and my own personal connection to the original film of Mary Poppins proved to be a little too much for me to handle. At five separate occasions I found myself welling up in spite of myself and tears were frequently falling down my cheeks. In the scene when Let’s Go Fly A Kite is first performed all three elements combined together and left me an emotional wreck. I consider myself as someone who very rarely cries at films but that one scene had me weeping like never before in a cinema. I just hope none of the other critics saw.
Would this film be of any interest to someone who hasn’t seen Mary Poppins? Probably not but as someone who considers the film and integral part of their childhood it is a completely subjective masterpiece that hit me in just the right spot to have me making a spectacle of myself in public.
One star for every moment I got all weepy.
Saving Mr. Banks is in UK cinemas on 29th November 2013.
Amanda Seyfried stars as M.K.; a young girl who has recently lost her mother (in typical children’s film style) and is forced to live with her wacky dad in the countryside. Her dad, played by Jason Sudeikis, believes that a civilisation of tiny people live in the forest by their house and spends his days searching for them. M.K. is naturally sceptical of her dad’s theory but when she chases her dog into the woods and ends up shrunk down and involved in an epic (THAT’S THE NAME OF THE MOVIE!!!) battle to claim power over the forest as she helps the Leafmen fight the rot-spreading Boggans as well as trying to return home and to her normal size.
Phew. Plot synopsised!
We were pleasantly surprised by Epic; it was a sweet and funny tale that didn’t overstay its welcome. The story was simple and didn’t stray too far from the classic animated film formula but was enjoyable nonetheless. The jokes were genuinely funny and stemmed from character rather than pop culture references (hello Shrek!) so the film has lasting appeal; the jokes will still be funny long after Britney Spears* is a distant memory. As we left my co-writer Kat said “that could have been a Pixar” which is high praise indeed, though perhaps not totally accurate. Certainly better than Cars* though…
Where Epic falls down is in its villains. Christoph Waltz lent his sinister tone to the leader of the Boggans and they were threatening enough but I wasn’t completely clear on why they wanted the whole forest to turn to rot. Sure they were evil, but why? Maybe they just got tired of Al Gore* harping on about the environment and decided to kill all the trees so he had nothing left to save.
Epic‘s strengths lie with the good guys. M.K. is a feisty female lead that may even pass the Bechdel test if talking to a queen played by Beyoncé Knowles about a genderless flower pod counts. She has a lighthearted romance with Leafman Nod, as played by Josh Hutcherson, and any time the film threatens to get too serious or more scary than its U certificate allows Aziz Ansari and Chris O’Dowd are on hand as a pair of amusing gastropods. Colin Farrell is also present as an older Leafman but he is taking the backseat in this film and does more disapproving than anything else.
Overall the film is a lot of fun and had us both chuckling away throughout. With half-term holidays coming up next week Epic could serve as a perfect distraction for any tiny people in your life. We would advise people to see it in 2D though, headaches and double vision are abound and the 3D adds to little more than your ticket price.
*Examples of out-dated pop culture references
Colin Farrell plays Marty a screenwriter struggling with his latest screenplay. His best friend Billy (Sam Rockwell) runs a dog-napping with Hans (Christopher Walken) and wants to help Marty with his screenplay any way he can. Events take a turn for the worst when Billy kidnaps the dog of local mob boss Charlie (Woody Harrelson) and all manner of shooting ensues. Throw in a serial killer, quaker, and Tom Waits and you have Seven Psychopaths.
Martin McDonagh has moved on from In Bruges, a relatively small film with one location and three characters, as he now deals with a cast of dozens in a film that roams from inner-city to outer-desert and incorporates many intertwining stories both factual and fictional within the film’s universe. The result is a bombastic film constantly trying to simultaneously shock you and make you smile. Seven Psychopaths desperately wants you to think it is cool and won’t stop shooting people and swearing until you are rocking in your seat laughing and giving an approving clap.
On the surface I really enjoyed Seven Psycopaths. It was funny and contained enough fodder to stop me from becoming distracted. It felt unpredictable, fun, and… Well. Then I spoke to my friend Jon (the one with the beard, not the other one):
“I didn’t really enjoy Seven Psychopaths. I was hungry at the time and I don’t cope well with being hungry so I think that factor may have biased my experience somewhat. Seeing the Jeffrey Dahmer Files about a real psychopath hours before may have also not really put me in the mood.
Is it wrong to expect a film called Seven Psychopaths to have seven psychopaths in it instead of a bunch of characters with a penchant for being violent? Of the three main characters in the film, one is a typecast stereotype, one is contrary with their actions ultimately becoming in no way believable, and it turns out the other guy used to be interesting but is now just a thief. There are two or three interesting ideas in the film but I don’t feel like they’re really explored. Instead, they’re clumsily mashed together along with copious uses of terms such as ‘fag’, lots of throw away violence, cheap laughs, and attempts at being clever that just fall too short of the mark. It’s a dumb glossy action film with one-dimensional characters that ultimately lacks any heart or soul.
Go read The Psychopath Test, watch No Country for Old Men or In Bruges instead.”
Seven Psychopaths will reach UK cinemas on 5th December 2012 and you’ll most likely love it. Just don’t go thinking about the film afterwards.