McFly The Nest

Anyone who's known me for longer than perhaps 24 hours will be lucky to hear me recount the "good old days" when I was 15 and literally did nothing other than be in love with McFly. I honestly couldn't explain to you now what it was about those 4 twits that really did it for me and a couple of my best friends - but we were unashamedly obsessed. Dougie was my favourite (something which has subconsciously led me to the decision to have a ginger version of Frankie Sandford's haircut...ish), followed by Harry, then Danny then Tom. My love knew no limits: a friend and I found out their address and made a whole 3 visits to lurk outside. I used to wear one of their plectrums as an earring and...the more I think about this the more I want to hate myself. But terrifying stalker tendencies aside, it's pretty clear they were my life for a good year. Sometimes when I rarely hear one of their songs these days it fills me with happiness/nostalgia/the urge to get back into a pair of long shorts and my vans and pretend I'm really cool. However, I have just managed to hear their newest song and all I have to say is "what the McFlying fuck is all that about?" Their whole "thing" was that they played their own instruments and were a boy BAND, not a literal boyband who sing autotuned crap like Party Girl. McFly, you are dead to me. Good job you're all punching above your weight with your current squeezes or else one might have to pity you. How tragic.

If you came away from this only pitying me, and not McFly, don't worry - I don't blame you. Here's some light relief in the form of my favourite video of theirs - comedy genius.

Fuck Tha Police

Seeing as I've been running round like a literal crazy person for the past 2 weeks thanks to having to attend graduation up in Liverpool, having a job and what I'll call a social life but doesn't really count as one, I've only had time to watch 3 films and the opening credits of another. All of these films will be discussed at one point or another but today I'm focusing on Let Him Have It and Sus. If you watch either of these and end up with anything besides a disgusted view of the British justice system (however outdated this opinion might be given that one documents the Derek Bentley case of 1953 and the other is set on the eve of Thatcher's election in 1979) you are literally some form of zomboid who doesn't deserve the right to vote/exist.

Let Him Have It, in my humble opinion, should be re-made, not re-released. Christopher Eccleston does provide a fairly admirable performance, but so much of the rest of the cast are so mind-bendingly annoying you kind of forget about poor old Chris. The film is also inexcusably long-winded in its getting to the fucking point - there's setting the scene and then there's just taking the piss. Negativity aside, however, the Derek Bentley case has been hugely important within the history of British justice (to put it simply, Bentley was wrongly hanged for the murder of PC Sidney Miles even though he did not fire the shot and was in fact in police custody at the time - the actual shooter Christopher Craig was under 18 so could not be hanged), and so it is only right that it should be put to screen in this way. The film is also a huge milestone in the career of the fantastic Eccleston, so it's definitely worth watching to witness his fairly humble beginnings if nothing else. The DVD is out on 9th August so you know, make my job easier and buy the thing.

Sus is a much harder hitting film, adapted from Barrie Keeffe, the writer of The Long Good Friday's play. Clint Dyer who plays the lead is pretty bloody amazing at times - switching from suave, cocky, cheeky and charming to the perfect portrayal of the scared, grieving captive almost flawlessly. Rafe Spall and Ralph Brown, who play the two coppers however leave a fair amount to be desired. The two are pretty much just caricatures who wouldn't seem too out of place in a Little Britain sketch. Centered around the Sus laws, the film shines a light on the injustices of stop-and-search and the tragic consequences which can unravel as a result.

Both films have made me really eager to watch all three Red Ridings again (the trilogy was based on David Peace's quartet of novels and probably can still be found on 4OD or something). If you're looking to stir up some hatred, give these three, along with Sus and Let Him Have It a go - you'll come away feeling all political and punk and other words beginning with "P".

Inception

Last night I put my tiredness after a 9-5 week aside in order to see one of the most anticipated films of the year on the day of release. I've been almost frothing at the mouth with excitement over it for the past 2 months, now, so I sure was glad that it didn't disappoint. If anything, it surpassed my expectations. Chris Nolan (bold statement alert) really has set the new standard for film making after this impeccable mind-bender of a spectacle - my next cinema experience will be somewhat marred I'm sure by the fact that in no way will Toy Story 3, or any other upcoming film, no matter how good it may be, quite compare. The action sequences are so incredibly fucking cool, your popcorn may well drop out of your gaping jaw (mine sure did - embarrassing.) The effects were awesome, the acting was outstanding from literally every member of the cast (though Tom Hardy and Marion Cotillard in my humble opinion deserve a special mention - I must also point out what a suave son of a bitch Joseph Gordon Levitt has become) and the score, though not quite as atmosphere enhancing as that which Zimmer created for The Dark Knight still receives a gold star. What really defies belief, however, is the sheer intricacy of the film. The various "levels" of dream world, and all the plot twists and turns require the work of a true genius in order to not let the viewer become overwhelmed. Yes, I am calling Chris Nolan a genius. In fact, I want to lick his brain, and then rub it against my own brain until we have brain babies which I can nurture and study in an attempt to understand how one man's brain can be so fucking cool. The ending of the film was so smart (though I daresay a tiny bit of an obvious choice given the theme of the film) it made all those smarmy gits sat around me make a statement approximating "ahonghonghong yasyas very good" and I'm sure in the months between now and its DVD release, we'll all be discussing what the ending truly means.

This really was a gushing "review", if you can call it that. But if it makes you go and see it any faster: job done.

More on Ezra Miller

It suddenly occurred to me in my obsessive google image stalking of the young Ezra this afternoon where I knew his face from: Afterschool. He plays the lead character in the grittiest depiction of high school drama since Gus Van Sant's Elephant. The same cinema verité style is used, and although the film does not document a real event in the same manner as Gus Van Sant's opus does, there is the same feeling of impending tragedy throughout. Also, unlike in Elephant, we are allowed to see the impact of the "tragedy". Miller is perfect in it - I've actually been meaning to recommend this film for a while now so cheers Ezra for being better than fantastic in two films. I eagerly await Beware the Gonzo and Every Day now.

City Island

Thursday night brought around the screening of City Island, a comedy from Raymond De Felitta which is being hailed as this year's Little Miss Sunshine meets Juno - I'm suspecting the former comparison is largely due to the fact Alan Arkin has a bit-part, though the family-drama type thing it has going on is also you know, a possibility. In truth, it's as good as neither, but that's not to say it's without its merits. Andy Garcia who stars as the head of the dysfunctional family (what's that you say? a comedy featuring a family who isn't completely "functional"?) is actually very, very good in a role which is pretty far removed from anything he's ever done before, and his very strong accent which he had to adopt for the role (cause you know, it's set in da Bronx) never falters. Julianna Margulies (that chick who used to shag George Clooney in E.R) co-stars and she's very good also, and WOW has she gotten better with age. The best lines in the film however go to Ezra Miller, newcomer who plays Andy and Julianna's son who's into fat chicks. Which gives me hope (har har). I fell in love with him a tiny bit which made me feel a bit like a paedophile but hot damn LOOK at him (that's him with his apparent girlfriend, Zoe Kravtiz. Bitch.) Andy Garcia's real life daughter Dominik plays his on-screen daughter (I'm guessing Andy pulled some strings?) and the resemblance between the two is pretty uncanny at times. The only element of the film which wound me up was Emily fucking Mortimer. I don't think she's capable of playing a role other than a flighty posh English woman who says silly and at times pretentious things but in an oh-so-charming manner. FUCK OFF EMILY. You're making us English girls look bad. Her aside, the film is fun, with some very clever moments - Andy's audition scene is fantastic as is the dinner table scene in which my new found love excels. Definitely go see it when it comes out on July 23rd.

Most excitingly - I may be meeting Garcia himself tomorrow if all goes to plan. Trying to choose the perfect outfit which says "hi it's raining but still really muggy but look how pretty and professional I can still look at your press junket". Tricky.

Ultra Culture Cinema

On Wednesday night the cinematic event of the day took place at the ICA, namely Ultra Culture Cinema #3. For those of you who aren't already acquainted with Ultra Culture - familiarise yourself with "The UK's Greatest Movie Blog" instantly. If you don't want to click on that link, UC is also featured in my Blog Roll. You really have no excuse. When I first stumbled upon it, many moons ago (at least 10?) I spent the majority of those next few days poring over every bloody word I could squeeze out of the available content. This proved damaging to whatever essay it was I was working on at the time, but beneficial to my life generally. So go on - enrich your lives, have a gander.
So, I, and the other UCC attendees who had torn themselves away from the oh-so-hyped Spain v. Germany match (only to be delighted that they hadn't bothered staying in to see it) were treated to an evening of delights. Despite immediately being horrified to learn my little sister (she's 18, and about half a foot taller than me, but she still counts as "my little sister" - she is thinner after all) was friends/acquainted with Ultra Culture creator Charlie Lyne's friend and free-ticket holding member of the audience. This might not seem like such bad news, but when you're "in PR" and your younger sister who's barely got her foot out of college is better connected than you are, humiliation is all you can feel. Incidentally, it is my mid-year resolution to use the phrase "I'm in PR" as many times in casual conversation as possible - I really enjoy sounding like a yuppy toff. Anyway, before the film was released upon our hungry eyes, we were treated to some entertainment in two parts. The majority of the first part of said entertainment involved free treats like cans of Fanta and Beer or the odd Curly Wurly (apparently a hot commodity) being passed around. Previously mentioned little sister was particularly eager to get her mitts on these. I asked her "what else do you want, the shirt off his back?" to which she replied "yes actually, I like his jumper". And it was indeed a very snazzy jumper. Kudos. The second half of the entertainment was provided by comedian/magician/love child of Peter Crouch and Sue Perkins (he describes himself as such), Chris Cox. Initially I thought this was going to be painfully awkward to watch, but he was actually very entertaining indeed. As was the girl who was dragged up on to stage who was wearing an outfit which definitely allowed me to see her actual nipples. The lesbian inside of me enjoyed this immensely.
After all this excitement, the lights dimmed, and the wonderful video below started. UCC #2, where Trash Humpers was shown, began what I hope will be a continuing trend to include funny videos prior to the actual feature with this being shown beforehand.

For some reason I was particularly excited that it was David Roy from Dananananaykroyd in the video, not because I've ever listened to them (I will) but because I "did some promotion" for various singles of theirs last summer while interning at Wild. Oh the life of a PR genius.
We then all settled down for the main event, Mother. The film is the latest from Bong Joon-Ho who has now been compared to Hitchcock by pretty much everyone who matters, and if I knew more about Hitchcock, I'd probably agree. That makes me sound like someone who's never seen a Hitchcock film, which simply isn't true, I just haven't seen nearly enough to make sweeping statements confidently. ANYWAY there's always a certain degree of anxiety over how good a film's going to be when you've managed to convince your companions to come with you. The film was of course excellent - the perfect mix of tension, humour and shock-factor topped off with breathtaking cinematography and a killer script. All this AND middle aged Korean women pulling some shapes in a field/coach? My companions were duly satisfied. For more on the film, download the notes here.

The audience was very excited when the film for next month's Ultra Culture Cinema was announced. I won't spoil the surprise, although 2 out of 3 of my readers were actually with me on Wednesday evening. So that leaves you, yes YOU, make sure you have August 25th free and available. You won't regret it. You can buy me a drink afterwards for recommending it in fact.

White Material

White Material is the latest post-colonial African narrative (do you remember when films of this nature were so en Vogue you couldn't move for the awards given to the likes of Hotel Rwanda, Blood Diamond and Last King of Scotland??) to be delivered from the imagination of Claire Denis, who according to the Guardian is "a poet of mood and movement". It's not difficult to see why such an accolade would be bestowed upon the writer and director who seems to have a fascination with documenting the breakdown of social order in a variety of both named and unnamed African countries (the location for White Material falls into the latter category). You know what they say, stick to what you know. The film is tense without relying on the usual techniques one might expect to find in the handling of the subject matter; allowing the viewer to feel what the protagonist, Maria Vial (played excellently by Isabelle Hupert) is experiencing rather than ramming the political message down our throats.
I won't say much more about the film, because everything there is to say has been said much more eloquently by seasoned professionals, and would never capture the raw brilliance of the piece. It's currently showing at Brixton's Ritzy, Cambridge Picturehouse and Edinburgh's Cameo Picturehouse, among others I'm sure. The film isn't for everyone, (those of you who're too lazy to read subtitles for one...) but it's one of the most sophisticated and credible films of its kind. Go see it.

Le Refuge

Le Refuge ("The Refuge" for all you non French speakers) is François Ozon's most recent release (though Potiche has recently finished production...)and although I've admittedly never seen any of his other works, I will now be doing my best to track them down; especially Angel, Un Lever De Rideau, Swimming Pool and Water Drops on Burning Rocks. I've heard nothing but good things about Ozon in the past, and boy did this particular film prove them. The script is funny, moving and tender, the acting from the three leads (especially from the mesmerising Isabelle Carré) is flawless: never under or over played. Each shot is full of the style one would expect from a French release, and although the film deals with the consequences of drug use and death, anything but strangers to the big screen as camera subjects, nothing about the film feels clichéd or done. If you're interested in seeing this, it's released over here (on DVD I think, but maybe in cinemas...) on August 13th by Artificial Eye.

Garfield meets Spiderman

Today in Hollywood casting news: Andrew Garfield (possibly my favourite British young actor...) is set to play the new Spiderman. I actually can picture it, just about. Along with all the rumours of Fassbender joining up to the new film, too - this film is set to be a corker. Or uselessly shit despite a good cast. We'll see.