Friday 26 October 2012

filmbore pick of the week - The Raid

The Raid (Serbuan Maut)

http://3.bp.blogspot.com/-LibJtDNa2iU/T9Bv4dOAnuI/AAAAAAAAAgo/Waxv2HbF0M4/s1600/The+Raid.jpgDirector: Gareth Evans
Screenplay: Gareth Evans
Starring: Iko Uwais, Joe Taslim, Ray Sahetapy, Donny Alamsyah, Yayan Ruhian
Year: 2011
Language: Indonesian
UK rental release: September 2012

IMDb
LoveFilm
Rotten Tomatoes

No doubt over the last month you've seen countless promotional material on an action film from the other side of the world called The Raid. Unless you've caught up on recent movie news over the last year or so, this film has come out of nowhere. But let me assure you...this is a picture you have to give in to.

We open on our lead, greeted with a brief montage of his regular training & religious morning routine. Rama (new found martial arts star, Iko Uwais) is a rookie SWAT member preparing for what lies ahead. He makes a promise to an old man to bring back a person dear to them, leaving his pregnant wife at home to join his comrades for duty.

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On route to their destination, the team are informed of their target - Tama Rayadi (Ray Sahetapy), a god amongst criminals and ruler of an underground kingdom of wrongdoers. As the SWAT officers arrive at their destination, they are guest to their new battleground: a looming block of concrete terror; emotionless, direct, imposing. They must scale the fortress floor-by-floor as stealthily as they can in order to overthrow Tama from his throne. 

This usurping will not be a simple task. Tama holds fort along with an army of loyal fighters, and his trusted henchman: Mad Dog (Yayan Ruhian) - an expert of fist and feet who prefers to kill with his body instead of weapons - and Andi - gentler than his colleague, intelligent and composed, he is a dependable advisor. However, Tama is a force upon himself with or without his army as we meet this deity of the dark-side with a striking overhead shot of executions, as he toys with his victims like it's play time.

As our heroes begin to ascend the tower block, feeling the pressure of a calm before an inevitable storm, they chance upon a young lookout...then hell does more than just break loose! 

Rama and his colleagues have a choice, continue their mission to take down the boss, or find an escape route out of this castle of death. Either way, they'll have to fight their way out...
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When I first heard about The Raid, I was excited to get a chance to see what sounded like a wonderful independent film from Gareth Evans. I had heard of this Wales-born talent after his acclaimed debut Footsteps and his follow-up after moving abroad, Merantau. However, it's his documentary about the unusual Indonesian martial art Silat that has had a larger impact on his career.

While crafting this documentary (The Mystic Arts of Indonesia: Pencak Silat), through one of the masters of this particular fighting style Evans was introduced to a promising student - Iko Uwais. Besides his obvious skill and talent, what Evans picked up most on was his natural screen presence. This encounter led him to casting Uwais for Merantau. This movie was a precursor however, as it was The Raid that Evans was destined to make with his new found star and friend.
Iko Uwais really does have on screen charisma too. Evans was right to see potential in the young man, as he has that unrefined star quality that only a select few martial art actors generally have (Bruce Lee, Donnie Yen, Jet Li), so he is definitely one to watch out for. Admittedly, with the nature of this film there is limited dialogue, but this is testament to his ability of owning the favour of the camera.

Evans does seem to have the uncanny ability of making some other interesting choices too. He switches filming styles regularly, with close ups, long drawn-out swooping cuts and plenty of overheads to give a real sense of space and intensity. The action is nicely shot as well - even though it can be quick and jolty, you still get to see everything tangibly, which is something many of our recent major Hollywood directors seem to fail at on a regular basis. It's refreshing to see a young director so mature with his filming choices, and I'm extremely impressed with what he's achieved with such a minimal budget (reported at around $1.1million).

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A word of warning to the weak - this film is gruesomely bloody and the action is as gritty as it gets. It's full to the brim with imaginative kills, and with its original choreography and great fighting styles each brawl is executed with such rapid aggressiveness, baddies are dispatched quicker than you can say "head-hit-multi-tile" (you'll see what I mean!). The martial art of Silat is a brutal but effective style, which is swift and reactive. From the first scenes where this unusual style appears, it's clear to see how suited to rapid-paced action Silat is. By the end of the picture you'll feel shattered, but due to the adrenaline it feeds you, there will still be enough juice in the engine for a couple of rewinds to your favourite bits - especially those crazy corridor scenes (eat your heart out, Oldboy!).
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Originally titled Serbuan Maut (meaning "Deadly Invasion"), The Raid uses the martial art of Silat as both its backbone and personality. It's wonderful to see a piece of world cinema so shrewdly produced, brilliantly captured, but at the same time doesn't shy away from it's true voice... a proper action film for anyone to enjoy. 

One word...Relentless!

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Friday 19 October 2012

filmbore pick of the week - Down Terrace

Down Terrace
http://www.islingtontribune.com/sites/all/files/nj_islington/cinema/cinema02_9.jpg?1281005381
Director: Ben Wheatley
Screenplay: Robin Hill, Ben Wheatley
Starring: Robin Hill, Robert Hill, Julia Deakin, Michael Smiley
Year: 2009
Language: English
UK rental release: August 2010


IMDb
LoveFilm
Rotten Tomatoes

Back in June this year I critiqued Ben Wheatley's excellently disturbing mixed genre piece Kill List (read the review here) and a friend recommended that I check out his debut, the self funded black comedy, Down Terrace. And I'm so glad I did!

Karl (Robin Hill, who co-wrote the film with Wheatley) has just got out of prison and ready to re-assimilate himself back into society. Joining him in freedom is his dad, Bill (Robert Hill, Robin's real life father) who, more so than his son, feels that something is afoot. The father-son duo head up an organised crime family in Brighton and on their return to Down Terrace start to unravel a conspiracy within their realm - there's a police informer amongst them and Bill is determined to find out who.

Karl is somewhat distant however, as he starts to feel a little separated from current events. He's also continually perplexed and perturbed by the philosophical ramblings of his father. Bill's unique mindset is that he is on a spritual path, with his role in the world justified from cultures previous to Karl's existence - the 60s defined his soul, and he still feels a part of it. So, his continual drug dealing and other activities are his response to a time taken from him by the "system", unjustly in his eyes.

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The swelling paranoia is fuelled by the matriarch of the tale, Karl's mum Maggie (the always fantastic Julia Deakin, Shaun Of The Dead, Spaced TV series) as she sporadically drops hints and whispers to Bill on who the traitor could be. Not only does this situation trouble her, but also the re-emergence of Karl's now pregnant ex-girlfriend.

The looming responsibility of parenthood adds fuel to Karl's segregation of events, and channels his emotions in unexpected ways. Questions are thrown a plenty to all of those close to them, and they even bring in another connection to handle a potential hit in the form of ex-marine Pringle (Michael Smiley, Kill List, and also of Spaced TV Series fame). The ripe smell of deceit slowly invades their home and as they investigate further, leading to some surprising outcomes as they let their honour and reliance on trust overcome them.

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If you've watched Kill List already, I have to point out that this is a very different approach from Ben Wheatley. You'll read my description above (which is a fair portrayal without giving too much away) and feel some veins of similarity between the two films, but that certainly isn't the case. Down Terrace is a lighter, more humorous picture and the characters aren't put there to insight fire like in his more famous piece but to breath familiarity instead. Each role is naturally played out by each actor, with every scene sitting comfortably on the screen with a fly-on-a-wall style. You feel like your watching a British soap opera only to be reminded of the ongoing tale by specific lines of dialogue and the odd bout of action. This technique works beautifully, allowing you to relax into the film straight away as you connect to the material and the characters effortlessly.

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It's extremely well written too, with a mix of ad-lib, suggestion and scripted lines, pouring lashings of next-door drama throughout. It's clearly thanks to a wonderfully real and grounded cast that this angle works, especially from our main protagonists (especially Deakin who's chillingly devious and overly mothering from start to finish). But I don't want to detract from some great performances from the smaller roles, which include some brilliant UK TV comedic actors such as David Schaal (The Inbeteweeners, The Office), Tony Way (Monkey Trousers, Blunder) and the always effervescent Michael Smiley. They all play off each other with such natural finesse and vigour, completing the puzzle to this compact piece.

There is one final character that needs a mention...the terrace set itself. Using the real-life Hill family home for nearly the entire film not only created the perfect down-to-earth environment for the actors involved but generated an air of claustrophobia and tension required for the events to come. It also presents the necessary "kitchen-sink" drama feel that gives Down Terrace it's approachable edge and showing the characters as human beings who just happen to be gangsters, as opposed to the exaggerated personas we're so use to seeing in larger, fuller funded movies. They suffer from the same family strife as anyone else, with troubled minds and fragmented personalities, allowing you to peer through a window into standard British life, or a mirror to your own demons.

We're also reminded that even though they make the decisions of criminals who should appear invulnerable, they are in fact normal people capable of the same mistakes we are (just with more to lose in their current occupation!). They even feel real sympathy for those lost at their hands instead of brushing off their targets once dispatched. It's a humbling perspective not usually tackled in this type of story, and it's all the better for it.

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Every director has a debut film, but not all of them great. But when you find a tale so bravely pieced together with wit, charm and grim confidence, all in the method of DIY cinema it's clear to see that great things are to come from it's helmer. This was proven with Kill List, and will no doubt be proved further with Wheatley's up-and-coming piece Sightseers (due for release November 30th) and I cannot wait to see what he'll serve us in years to come.

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Friday 12 October 2012

filmbore pick of the week - Avalon

Avalon

Director: Mamoru Oshii
Screenplay: Kazunori Itô
Starring: Malgorzata Foremniak, Bartek Swiderski, Dariusz Biskupski
Year: 2001
Language: Polish
UK rental release date: 2006

IMDb
LoveFilm
Rotten Tomatoes

In a world dominated by gaming, there is always a drawing inevitability that this digital environment that we partake in could become a backbone to our society and even represent stature in place of war. Avalon makes an attempt at addressing such a future, to the extent where such simulations are actually illegal due to the deadly outcomes posssible to the participants in reality.

http://www.cyberpunkreview.com/images/avalon18.jpgAsh (Malgorzata Foremniak, Squint Your Eyes, Pitbull) is currently topping the charts of the underground online realm Avalon. She sweeps through the virtual playgrounds populated by a plethora of wannabe gaming stars with the adept skill of a ninja, picking off her prey like a pixelated super hero. Her position in this industry is one of royalty, and fellow gamers long to reach accolades of her standings.

But for Ash, as queen-of-the-net she is beyond the capabilities required to succeed in the current games she's involved in. Her real life is quiet and lonely, and the only person in her world that she cares for is her dog. And, even with all of the increasing monetary awards present to her for her triumphs, she longs for more difficult challenges as her swelling appetite for adventure brings out an inquisitive side. 

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She catches up to an old colleague, Stunner (Bartek Swiderski) who reveals secrets of a new level, "Special-A", where only the finest of players can enter. Even though the further likelihood of death or a catatonic state is apparent, these worries do little to deter her craving for danger, and with some brief encounters from a mystery participant Bishop (Dariusz Biskupski) she edges ever closer to her goal.

What lies in store for her in the Special-A difficulty setting? Will she even survive to find out? And who is the "ghost" that could show her the way? Game on...

I need to stress at this point that this film has always produced a number of mixed reactions. It's definitely a "Marmite" piece, where any critics either adore the bravery of the source material and it's execution, or find that it is a predictable snore fest. I for one feel that the latter comment is extremely unfair. Yes, there is a a bit of a lull during the middle of the film, with some drawn out scenes that could have a negative impact on the viewer depending on their movie watching desires. It does tend to be these shots in particular that bring out the torches and pitchforks when discussing this film. 

However, I feel these scenes are extremely important in the overall piece, creating an air of intrigue and confident patience for the up-and-coming moments of action and beautiful confusion. If they're not your "cup-of-tea" I can completely understand why, but I have always felt that the bad reactions to these moments are a little overplayed and obvious themselves. This clearly isn't The Matrix, so don't expect the same...instead be prepared for a small, smart art-house equivalent, meant to leave thoughts and mystery in it's wake and you'll enjoy it.

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Anyhow, with that out of the way lets discuss the film overall. For those of you who are fans of anime you will clearly recognise the director listed at the top of this article. Mamoru Oshii is famed for some of the most successful animated pictures to come of out Japan, especially with Ghost In The Shell. It's apparent through Avalon that this seminal 90s anime (also known for inspiring a little known Wachowski brothers film I've already mentioned) has had a direct influence on the story. The burning topic in both pieces is a combination of the justification of technological advancement and the urge to comprehend identity whether in this realm or the designated maps of its virtual cousin. Yet, where Ghost In The Shell attacks these themes head on, Avalon slowly creeps around them, scouting for clues and learning from a distance. It's a lovely approach that is surprising when considering the general subjects of the film and allows you to melt into its world with ease. Again, this method is assisted by the slower (and importantly, sometimes repeated) scenes as you begin catch Ash ponder on her surroundings, as her need to further her game-hood starts to build.

http://thefunambulistdotnet.files.wordpress.com/2010/12/avalon8.jpgOf the gaming scenes themselves, I have to comment on what are clearly some of the most unique and original concepts for movies of this nature. A sepia tone washes over the screen to highlight the dream-like environment, and the action within erupts in an alien-like fashion. Soldiers de-res like Tron victims as they're dispatched by Ash or other comrades, but the intensity of the battle simulations still holds intact even though the fake reality of that world is constantly revealed to you.

Also, I have to give further kudos to Oshii's regular composer counterpart, Kenji Kawai. Again, Kawai has crafted a fantastic score that partners with the whole picture with both eloquence and excitement. Their pairing is another great example of when a director understands complicitely what music can do to finalise an entire piece of work. Each required emotion, whether subtle or overwhelming, is handed to you at every moment of poignancy, making these themes vital to the overall movie.

Speaking of the working well together, one final hand clap has to go to the entire crew. Made up of both Japanese and Polish members, this film was difficult to make considering huge language barriers, and the production was noted to suffer as a result. However, they all powered through to create one of the most individual stories based around computer games committed to celluloid, and whether you love it or hate it, you have to respect the hard work of all those involved. 

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So, if you're looking for a rock-n-roll ride through digital dimensions, creating an intense adventure of a movie, you may not find that here. But, if you want a poised, artistic and cogitating approach to value of life and the acceleration of addiction, that just happens to be in the gaming realm this could be the tale for you. And with an ending like the one Avalon has, you'll be pondering in it's aftermath for weeks to come!


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Thursday 11 October 2012

September Overview


Busy times. Less content. Longer Reviews!

Well...September turned out to be a busier month than expected. Unfortunately, not in the blog site side of things though. Many occurrences in my life outside that of the cyber realm have meant that I've not been able to dedicate as much time as I'd like to filmbore...I've been so busy, in fact, that I'm even late with this overview! Hence why I've only managed to provide you with pick-of-the-week articles for the last month.

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Aah, but what reviews I've left you with! And as they say, it's quality not quantity that counts, as the articles themselves are longer than before, with more attention put into the analyses and views on each piece of film.

So, without further ado...

Pick of the week - recap

http://www.genderacrossborders.com/wp-content/uploads/2009/07/waltz_with_bashir_movie_image__3_.jpgAri Folman's excellent animated docu-film Waltz With Bashir was first on my agenda. An insightful and incredibly unique take on a veteran's experience of war, piecing together missing memories from time spent in Lebanon. Sewn together with incredible artwork, interesting music choices and surprising humour, it's an absolute rarity!

http://www.aceshowbiz.com/images/still/headhunters-still04.jpgNext, we ventured to Norway once more for the recent and very brilliant thriller, Headhunters. If you haven't seen this yet, do yourself a favour and rent it out tonight. You'll get to meet the enigmatic Roger Brown, con-artist and thief extraordinaire, as he bites off more than he can chew when the new dog Clas Greve comes into town.
http://images.suite101.com/468256_com_backbone_1a.jpgThe Devil's Backbone is from a familiar face - the genius artist Guillermo Del Toro. When such an excellent film maker is capable of putting together such a jumbled but delicately brilliant piece of film like this so early in his career, you can see how he's gone on to become one of the biggest names in modern cinema. For fans of Pan's Labyrinth, you can see some if it's early makings here.
http://cf2.imgobject.com/t/p/original/q12bcMF2sDELN4h2Oy3MltxD9JN.jpgFinally, I returned to my own shores at the end of September to talk about one of my favourites, A Room For Romeo Brass. This is a perfect example of how a small film can carry such a big personality. Shane Meadows. Paddy Considine. Great Britain. Two pesky kids. An excellent script. Cameo from Bob Hoskins...need I say more?!

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Friday 5 October 2012

filmbore pick of the week - The Kid With A Bike

The Kid With A Bike

Directors: Jean-Pierre Dardenne, Luc Dardenne
Screenplay: Jean-Pierre Dardenne, Luc Dardenne
Starring: Thomas Doret, Cécile De France, Jérémie Renier
Year: 2011
Language: French
UK rental release: July 2012

IMDb
LoveFilm
Rotten Tomatoes

The Dardenne brothers are a big name in french cinema, thanks to their earthy and reliable output of well written and beautifully directed pieces. Since their foray into major movies they have always been involved in the available prizes at the annual Cannes Film Festival, and have won more awards there than most. Again, they have succeeded in producing yet another successful picture with this, the winner of the Grand Prix at Cannes last year, The Kid With A Bike.

Cyril (fantastic newcomer Thomas Doret) is an 11 year old boy who has been abandoned by his father to a nearby children's home. He has the look of innocence but is brimming with defiance and boldness, driven but his continued determination in the hunt for the whereabouts of his dad. But that's not all, as he also feels the segregation more physically due to his missing bicycle - a gift from his father, Guy (Jérémie Renier, L'enfant, Brotherhood Of The Wolf).

http://1.bp.blogspot.com/-C5lc3cSF5Bo/TpzgDowsLLI/AAAAAAAAA2s/n4_G3YLY7nw/s1600/Dardennes.jpgDuring one of his escape attempts, he has  a brief encounter with Samantha (Cécile De France, Switchblade Romance, Mesrine: Parts 1 & 2), the owner of a hair salon around his home estate. She manages to track down his bike from a neighbour and in taking it back to the boy it sparks an unexpected connection. Cyril is clearly a happier soul when back on his bike - it's an extension of comfort for him, like a security blanket. This two-wheeled contraption creates a bridge between them, beckoning the beginning of a new relationship as she agrees to foster him on weekends.

Not only does this give Cyril a better quality of home life, but also presents him with an opportunity to persevere with the search for his father, and Samantha wants to help him in his quest. It's clear from some of the outcome that she has a bigger responsibility for Cyril than she accounted for, and cares for him more and more, despite his unruliness. The boy's rebellious side swells as his life unfolds, during which he meets an older lad, Wes, from a local gang who sees an affinity with him through joint experiences from the children's home. 

But with Wes' reputation as a reprobate clouding his true intentions, Cyril can't help but be embroiled into the cool life of his new friend. Nevertheless, all of his actions and decisions, whether good or bad, come from a desire to regain his kinship with his father...some actions of which could get him into deeper trouble than he realises.

The first shot of this film epitomises the quality of a Dardenne picture. Naturally lit, and patiently shot with tones of realism. You wait diligently for the drama to unravel itself, for which you are inevitably rewarded. What's smart about the overall piece though is the choice to shoot almost the entire story from the height of Cyril himself. In doing this, you feel every moment from the boy's visual perspective. Also, the interior scenes are closely shot, adding a claustrophobic ingredient to the mix, increasing your understanding of the boy's desire to escape from both the housing he finds himself in and the agitation he builds in himself while trying to comprehend his family situation.

This design only helps to amplify what the bike to the kid represents. Not only is it his chariot to evolving his own being and discovering the truths he so passionately seeks, but it is the link to all of the key engagements that he becomes involved in: while looking for his dad and the bike he meets Samantha; her finding it again brings them together; a boy who steals it brings him to the attention of Wes. Even as an escape vehicle in times of trouble, it's his transition between poignant moments while he can settle in a realm of serenity preparing for what lies ahead. It's a platform into events that if alone his defiant side may never have broached.

None of this would be believable though if not for a good cast. As expected, Renier is subtly moving and direct, while De France does what she always does best and absorbs herself into the part with natural charm and assimilated acting brilliance. However, her performance doesn't deter the excellent turn from Thomas Doret. The Dardenne's have found a great new star in this young boy. Any other child may have been either too sickly or too arrogant in trying to imbue the right quality to the role of Cyril, but Doret is an absolute natural. You feel his pain and courage instantly, and the assured method in his doggedness to get back his father is incredibly endearing. Also, there is great chemistry between the young lad and De France, which is where the tale's true heart starts to shine. Their execution on screen pushes through the obstacles that the story dishes out, and it shows what a great pairing you can get from an experienced film star and a beginner with unbleached flare.
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If you haven't seen any of the Dardenne brother's films before, this is a great introduction to their work. It's no surprise here that they have created yet another solid french drama, as expected when comparing it to their ever growing catalogue of high quality films. They are a stamp of approval...when you see their name on the cover, you know what you are going to get. But, they are still able to produce exquisite pieces time and time again, and I wouldn't be surprised if they turn up to the next Cannes Film Festival and leave with a gong or two under the arms.

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