filmbore pick of the week - Timecrimes

Timecrimes (Los Cronocrímenes)

Director: Nacho Vigalondo

Screenplay: Nacho Vigalondo

Starring: Karra Elejalde, Candela Fernández, Bárbera Goenaga, Nacho Vigalondo

Year: 2007

Language: Spanish

UK rental release date: May 2009

IMDb

LoveFilm

Rotten Tomatoes

The New Year is nearly upon us, and it's time for us all to have a fresh start. The New Year is nearly upon us and it's time for us all to have a fresh start. Wait...hang on...I'm in a loop. Well, if that's the case there's only one thing for it. I'll begin this review anew then with yet another time travel movie, which is all about fresh starts. I'll begin this review afresh then with...

Hector (Karra Elejalde, Even The Rain, La Madre Muerta) is taking a nice relaxing break in the Spanish countryside with his loving wife, Clara (Candela Fernández), keeping himself to himself. Everything is perfect until he decides to relax in the garden. As soon as he's sat, something catches his eye. Grabbing his binoculars he gets the glimpse of a woman removing her clothing in the distance.

His intrigue gets the better of him, as he decides to investigate further. He takes a walk towards the woman's house to get a closer look but on arrival he finds her lying fully naked in the grass, completely still. Unaware whether she is dead, passed out or just asleep, Hector examines her.

It's at this moment that the stranger strikes - a bandaged man appears from nowhere, attacking Hector for no reason. He has no choice but to flee the scene to escape this crazed Berserker, sprinting through the forest and arriving shortly afterwards at an unusual circular building. A perfect hiding spot, Hector sees on entering that this is no ordinary place but some kind of laboratory or research facility. Nevertheless, there's no time for any more investigating, as the stranger is still on the chase, so he clambers into what appears to be some futuristic cabinet to keep hidden.

Moments later, on getting out of the unit he checks to see if the coast is clear. Everything seems fine, until he's startled by a familiar person. Hector sees himself in the distance, standing over the nude lady in the forest, just prior to the attack from the stranger. As strange as this all appears, he can only deduce that the box he was hiding in was in fact some kind of time machine, taking him back to his recent past.

But just his presence is a crime enough, as each of Hector's actions will now take him through the laws and regulations of time travel, and to the brink of his own sanity as he tries to repair what he may have already broken.

From the first few seconds of this film you think you are about to watch a calm drama, slowly billowing into a thriller, but instead is gets some momentum in the first few minutes and keeps it at a constant. Fearlessly, it reveals its plot early on and keeps dropping little bombs of realisation throughout as soon as the truth dawns on Hector.

The film gets away with this by the fact that Nacho Vigalondo took the courageous decision to make this a very accurate time travel story. Every factor of the "butterfly effect" created by our lead is handled some very precise consequences. It's a new approach to a film of this genre, where normally we are left with vague plot holes to illicit some thrill response and instead trusting the viewer to buy in to the obvious results of meddling with time. For example, the superb (and the always compared) Canadian thriller Primer (see review here) tries to imbue some imaginative complications by being a little ambiguous, but Time Crimes throws the book out of the window by pointing out the obvious and strictly sticking to it. A bold way of demonstrating time travel, as it could have been boring and repetitive, but it blossoms here.

You will predict some of the outcomes in Timecrimes. But this is a good thing, because the execution is flawless and the justification for each and every action, and the inevitable result every single time, strengthens the film's structure. It also merits some second viewing to see how some of this detail shines.

All of this clever design and storytelling helps to mask what is a low budget picture, estimated at about $2.5million. Whereas this is nowhere near as low as the pot provided for its North American cousin (Primer's estimated spend is nearer the $7,000 mark) it's still a visually impressive piece on such tight funds. Using plenty of natural lighting when it suits, there's real depth and tone to a lot of the imagery, especially when considering the different angles and perspectives taken on the same scenes when entering that a ta different point in Hector's time line. This overall visual template acts a nice glue when piecing the different pieces together.

Another area that may have helped keep the finances down was on the casting choices. There's a very small amount of actors on this film, with even the director playing the mysterious scientist in the research building. However, whether this is a budget decision or not, the small cast is perfect for the story. Too many characters could have taken it into the complicated territory, plus the performances from the the cast, including Vigalondo, are very strong and especially from the lead, Karra Elejalde. Only really known for his work in Spanish cinema, he is a reliable actor and takes to this part with ease. He is instantly likeable and you can't help but want him to succeed in his mission, a feat achieved purely by Elejalde  as another performer could have easily turned this four-dimensional role into a one-dimensional one.

Nacho Vigalondo has taken the reins, even casting himself, of an excellent debut feature film that completely shakes up the conventional time-travelling movie. A simple theme, a direct attack on the story, and with good continual pace from the moment of Hector's first discovery, Timecrimes is a unique piece of world cinema that will have you hooked from the start all the way to it's satisfying ending. And, thanks to it's no-frills, blunt attitude to time science, you don't need to be Dr. Emmett Brown to understand it!

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Top 10 Wonky Christmas Movies

Finally, a new Top10 for the site! And I promise, there will be many more in the new year, as part of the some of the up-and-coming improvements I promised in a recent article here.

So, without further ado, and with keeping with the yuletide spirit, I present to you my selection for the best alternative Christmas films. If you still need to get some last minute presents, or have a little gift money left over after the Boxing Day sales, pick up one of these nods to the holiday period to keep you in spirit while still dipping a toe into the darker side of the Christmas pudding.

The criteria: it has to be set during Christmas, and not just have a brief mention of it. Also, it needs to be sufficiently left-field from the general Chrimbo vibe to qualify. There were many to choose from, and I've ensured plenty of deliberation (taking into account that I want to provide a variety here) so I hope you're content with my choices.

WARNING! Mild spoilers ahead...

10. Black Christmas (1974)

The original yuletide slasher pic, Black Christmas bucked the trend of the standard family yuletide movie with slaughter! Relentless in it's premise, and with a decently ominous ending, there's no forgetting the moment when Margot Kidder's "Barb" is brutally stabbed to death with that unicorn ornament, only for her screams to be drowned out by the carol singers outside.

9. Bad Santa (2003)

What really goes on in the mind of a working Santa building up to Christmas. In Willy's case (Billy Bob Thornton) he's a misogynistic, swearing, depressed drunk that just so happens to be a safe cracking expert. With his elf/partner in crime, each year they use their Santa's grotto to scope out stores for their annual haul. Redemption may be on its way, but Willy character stays true throughout...a brave move I think.

8. Rare Exports: A Christmas Tale (2010)

Stories of Santa in Finland aren't the conventional family-friendly ones a lot of us may know. In our Scandinavian neighbours mythology, Claus is a far more sinister being, reluctant to reward the nice and more tuned in to punishing the wicked. Off the back of some successful shorts with the same heading title, this Finnish perspective on Ol' Daddy Christmas is one you'll never forget. I probably would have been better behaved as a child had I have heard of this beast!

7. Tim Burton's The Nightmare Before Christmas (1993) 

Not only is this a brave angle for Burton to take, but it's also one of the most unique musical movies ever made. An original viewpoint on what Christmas means through the eyes of a Halloween child (perfectly illustrated during the unforgettably catchy tune "What's This"), Jack Skellington's attempt on improving Santa Claus through an Xmas Eve ride of his own is comedy gold. I just hope I don't get a head in any of my gifts!

 

6. Kiss Kiss Bang Bang (2005)

Most people remember Shane Black's return as a Xmas film thanks to a festive dress worn by Michelle Monaghan, but don't forget that the entire plot comes off the back of a promise of a gift to a child. Harry (Downey Jr.) is escaping the police who nearly caught him stealing his son's Christmas present from a toy store. During the chase, he accidentally auditions for a film part, leading to meeting Val Kilmer's "Gay Perry" for inspiration in the field and opening up a case of his own. 

5. Lethal Weapon (1987) 

From the opening of "Jingle Bell Rock", to the undercover sting at the Xmas tree lot, to Mr Joshua shooting a TV playing Scrooge, you're reminded at every corner what time of year this is set in. Still the quintessential buddy cop movie that others try to be, Shane Black broke the mould with his script and namely continued to write movies during the festive period (see Kiss Kiss Bang Bang above).

4. In Bruges (2008)

Not one to watch with your Nan after the Queen's speech, this fiery-tongued feast was a surprise hit. Hit men Ray (Colin Farell) and Ken (Brendan Gleeson) are sent by their boss to Bruges during Christmas following a problem with a recent job. Ken loves the place, but Ray is unsettled. They both try and keep themselves busy in their own ways, leading to both hilarious and disastrous circumstances.

3. Brazil (1985)

Many forget that Terry Gilliam's adult fairytale is set during Christmas, with Santa outfits and gifts throughout. It delivers itself as an attack on consumerism as much as on bureaucracy. Sam (Jonathan Pryce) fantasises of his mundane existence. Intrigue and a few random events start bringing his desires into life, blending truth and delirium. I highly recommend this rare treat!

2. Die Hard (1988)

Every action fan's choice for Christmas, Die Hard still packs a punch as McClane gate-crashes the most violent Christmas Eve party ever. Bruce Willis cemented himself in cinematic history with his yippe-kay-yay-ing, fire-hose swinging relentless cop. With Alan Rickman Gruber as one of the coolest badd this side of Vader, it's now a modern classic. And kudos for opening with Run DMC's "Christmas In Hollis" for that hip-hop yuletide vibe. 

"Ain't you got any Christmas music?"...

..."This IS Christmas music!"

And the winner is...

1. Gremlins (1984)

Am I that obvious? Well, it's clearly the finest Christmas movie ever made, wonky or not. I can't get through the Xmas period without watching this film at least once. Not only does it qualify as an alternative Christmas movie with it's dark horror undertones and cheeky humour, but it still manages to present itself as an overall proper festive film.

On release, many children of a generation wanted a mogwai. Gizmo seemed the perfect pet (we wanted a real one mind, not the suction-cup ones slapped against car rear windows!). Not only was he cute and fuzzy, but he had personality, brains, musical talent and a natural liking to other domestic pets...that is until he brings friends of his own.

This is where Gremlins is so brilliant. We can state the obvious over the gung-ho horror and dark humour (Phoebe Cates' Kate's retelling of how she discovered there was no Santa Claus, a prime example) but it's uniqueness comes in the species of the mogwai itself and the 3 rules of looking after him:

1. Keep him out of the light, he hates bright light, especially sunlight...it'll kill him.

2. Don't give him any water, not even to drink.

3. The most important rule, the rule you can never forget, no matter how much he cries, no matter how much he begs, never feed him after midnight.

...but rules are meant to be broken. When Gizmo gets soaked, he multiplies into nastier version of himself, and when they eat after midnight, you've got Gremlins in your house!

The Gremlins, to this day, are still absolutely brilliant. Teeming with character and bravado, their a non-stop gag shop and a force of blahsé death and destruction. Led by the first of Gizmo's new brother's, Stripe, they set about attacking the small American town they've made home, while Billy and Gizmo hatch a plan to stop them.

But overall, there is a still a Christmas message to bring. Some say it's a reminder of responsibility, to take care of your loved ones. Others, to stay positive in the face of adversity. But I think it's more direct than that... pets are life (or death!), not just for Christmas!         

Have an amazing Xmas everybody!

Just missed out: Go, Scrooged, Trading Places, 

Batman Returns, Jack Frost (the horror one!)

If you disagree, and have other suggestions, please post comments at the bottom of the post.

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filmbore pick of the week - Brick

Brick

 

Director: Rian Johnson

Screenplay: Rian Johnson

Starring: Joseph Gordon-Levitt, Lukas Haas, Nora Zehetner

Year: 2005

Language: English

UK rental release: September 2006

IMDb
LoveFilm
Rotten Tomatoes

As we draw nearer to the end of 2012, reflecting back it's been a decent year for films at both ends of the financial spectrum - terrific indies and jaw-dropping blockbusters. Two of the cinematic giants this year, The Dark Knight Rises and Looper, can pin some of their success to some stellar turns by the enigmatic Joseph Gordon-Levitt. It's his scene stealing performances in some movies, like Inception, and his competency at carrying a lead role in others, as he did in 500 Days Of Summer, that has land-locked him as a go-to name for brilliant acting. Fondly known as the young boy in Third Rock From The Sun, it's his take on a "Philip Marlowe" style role in Brick that started him on his journey up the echelons of Hollywood success.

Brendan Frye is confused. A perplexing phone call from his ex-girlfriend Emily (Emilie de Ravin of Lost - TV series fame) has him stumped. Code words in her message - the pin, the brick - have no relevance in his mind, but the sudden discovery of Emily's body following a mysterious murder pushes him to investigate further. What was Emily talking about? And why would anyone wish to take her life? The riddle she's placed at his feet could hold the answers.

In order to make sense of it all, Brendan turns self-motivated private eye, questioning known associates and befriending certain key members of the hierarchical structure of his high school's social community. One such person is Laura (Nora Zehetner, The Brothers Bloom, Heroes - TV series), who's contacts and status could prove useful to Brendan - hopefully to unravel the enigma left by Emily and to involve him with higher representatives of the school elite.

As he digs deeper into the puzzle, Brendan reveals more than he bargained for, angering some and intriguing others, none more so than the nefarious boss of an unexpected crime syndicate, The Pin himself (Lukas Haas, Witness, Mars Attacks), an altogether peculiar leader of his men, sweltering in self-imposed rays of delusions of grandeur.

Brendan will have to tread carefully to uncover the truths he so desperately seeks to keep his sanity and life, while the final piece of the puzzle may be simpler than he thinks.

When I first watched Brick I spent the first ten minutes wondering if I was missing something, and if I should even continue watching it. This is rare for me, as I'm reluctant to press the Stop button so early, but I'm glad I held my patience. It's wasn't so much the initial mystery, which can throw you (which is it's point after all) but that it began a little bit too pretentiously for my liking. Please don't let that put you off though, as very quickly the film really gets underway and under your skin.

This is mainly down to a smart, relevant and, dare I say, hip script tapping neatly into teenage pathos and student social etiquette. The successful execution of this is due to Rian Johnson's choice to lace a film noir detective story into a school drama. This analogy of a private eye mystery layered into the setting of hierarchies in high school works surprisingly well, with Frye as an outsider, perfectly placed as our detective at a distance, or the headmaster who opposes Frye but agrees with his general motive, channelling the police officer reluctant to help his PI friend. It's a brave but thankfully successful design, allowing for some intriguing face-offs and sharp exchanges.

Smartly balanced throughout is an odd choice to include some comedy. Luckily, the timing of these bouts of humour is so well crafted I think the film would probably fail without it. Rapid quips and retorts bring some laughter, and some physical comedy is a welcome gift, lightening the picture just sufficiently enough to take it on step out of the dark - it makes the film a little more approachable while not alienating those who strive to find films with a left field approach. Once you fall into the story, you're hooked all the way, especially when you tune into this tongue-in-cheek vibe delivered superfluously by the whole cast.

A script like this would normally need a lot of big names, but I'm pleased that the actors chosen got a shot at it. Some lesser known names get the chance to flex their acting skills and Gordon-Levitt is the perfect choice for Brendan Frye. Here, he's been able to display his adept skill at presenting tight but unique dialogue. Also, by choosing such actors, it has allowed Johnson to create a piece with a lot more ease when considering his incredibly low budget (reported at just under $500,000), sourced from friends and family. This decision has allowed new talent to shine and Gordon-Levitt to really make his mark, paving his way towards an array of performances we know and love him for today.

I'm thinking of changing my name to debut-bore, as I cannot help myself in pushing director's first forays in cinema. Nevertheless, it's clear that this is yet another brilliant first stab behind the lens from another interesting director. Since Brick, Rian Johnson has gone on to make the unique grifter romp The Brothers Bloom and the beguiling Looper, and is someone who takes risks when crafting cinematic treats. I hope that, as his career evolves, he'll keep stretching the boundaries of possibility, as I'd expect to see some incredible pieces from him in years to come, as long as the studios allow him to make movies his own way.

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filmbore pick of the week - Wild Bill

Wild Bill

Director: Dexter Fletcher
Screenplay: Danny King, Dexter Fletcher
Starring: Charlie Creed-Miles, Will Poulter, Liz White, Sammy Williams
Year: 2011
Language: English
UK rental release: September 2012

IMDb
LoveFilm
Rotten Tomatoes

I'd like to say it's been a while since we've been presented with another "British Gangster film for British blokes", but I'd be obviously lying to you. Since the groundbreaking smash Lock Stock... we've been drowned by a plethora of UK crime capers full of cheeky chaps, which have felt more and more diluted as time has gone by. Now, one of the stars of Guy Ritchie's entry to cinema history, Dexter Fletcher, has taken his first steps in the director's chair for what seems to be his take on the genre, Wild Bill.

Bill (Charlie Creed-Miles, Harry Brown, Nil By Mouth) has a reputation. Renowned in his old estate as force of nature, he was a major pusher in East London in his time and handy with his fists. He's unaware of the stature of his name now though, as he's just been released on parole after spending 8 years in prison. On his first day out,  the new crew on the block try to recruit Bill into their business, maybe in the hope that a man of such local underground fame could bring fortune to their dealings and to keep him on a tight leash. However, Bill is now a tempered soul, built not only from his time away but of the thoughts of the family he has become so estranged from.

During Bill's absence, his eldest son Dean (Will Poulter, Son Of Rambow, The Voyage Of The Dawn Treader) is playing father to his younger brother Jimmy, thanks to the boys' mother running off to Spain with a new man nine months ago. To make ends meet, Dean has taken up a job as a labourer - he's learning a skillful craft and doing what he feels is right, even though at 15 years old he should really be in school.

That's more than you can say for 11 year old Jimmy (Sammy Williams, Attack The Block), who has no excuse from his absenteeism from class. He consistently plays truant to hang out with his older mate, Boz and cause trouble.

On Bill's return, the lads have difficulty understanding his presence at their home, hiding from him when he first arrives. It's clear to Bill that Dean is now the man of the  house and he doesn't want to interfere with that. Yet, with their mum sunning it up abroad, Child Services are hovering over the family like a pestering sword of Damocles, preventing Bill from making a sharp exit to Scotland for some promised work.

This dilemma forces him to make a stand as a parent for the time being. Through simple fun he starts to establish a new bond with Jimmy but Dean isn't so keen, feeling the strain of responsibility towards his younger brother from being usurped from his post as a surrogate parent. Loosening the grip from Jimmy allows the young boy to fall in with a bad crowd linked to Bill's associates.

As relationships shift, this new group of dealers see Bill as a has-been and start to pose a threat to his family. He confides in his new friend, Roxy (Liz White, of Life On Mars: TV series fame) who knows these criminals; caught in the wrong crowd herself, she's a future portrait of where Jimmy could be heading. But there is only so much she can advise on, as all of these events are building to a choice that Bill has to make in order to get his priorities in check.

As you can tell from most of my reviews, I'm a sucker for a debut. And I'm pleased to say that this one from Dexter Fletcher is superb!

On the budget supplied, of about £750,000, there's an astounding roster of talent involved here. Through Dexter's contacts in the industry he's been able to pull a few strings and bring together a great ensemble of characters, even for the smaller parts to cast including Marc Warren, Leo Gregory and, the always solid, Neil Maskell. There's even some fantastic cameos from the likes of Sean Pertwee, Jaime Winstone, Jason Flemying and Andy Serkis.

Although, even with such strong personas to juggle, what Fletcher has seamlessly succeeded in doing is drawing out such rich performances from his leads that they don't suffer being weekened by their co-star's presence. Charlie Creed-Miles in particular has great on screen chemistry with every character he's confronted with. He's a great choice for Bill, subtly handling a man so torn between the old world he thought he knew before his jail time, and the new world that he is ignorant of but naturally relates to as a father. Creed-Miles has had lead roles in the past in smaller films but I'm pleased to see him in a more prominant picture that has enough quality to put him firmly on the map and allow him to flaunt his gift in front of the lens. It's a similar situation experienced by one of his co-star's, Neil Maskell, who has had a similar opportunity in Kill List (as described in my review here) and it's been a long time coming but is truly welcomed.

Another stand out star of Wild Bill is Will Poulter. For such a young man he has indomitable screen presence. It's clear that, even though he is still only in his late teens, over the years he has managed to nurture his talents since his unforgettable part in Son Of Rambow through numerous TV comedies and in doing so has evolved into a brilliantly well-round actor. From his turn in this film, I hope that he gets noticed for the right parts moving forward in his career as he has the makings of a future British screen icon, which you'll find difficult to argue with when you see him here.

Yet, for me, the winning performer in this picture is the film itself. On the surface it appears to be another British indie crime film but instead we are treated to an emotionally hefty drama surrounding themes of retribution and family groundings. Still, little strands of humour peek through the serious visage, thanks to some great writing from Danny King and our director. There's some great banter handled naturally by the cast, and each nugget of comedy feels like it belongs, without deterring from some of the important messages held within. An example, is when Bill is expected to clean up the dirty toilet in the family apartment. With humorous pangs through his disgust at the act, his overcoming of such a task represents the initial stages of taking charge of his new found fatherhood. It's a subtle blend that works well, leaving room for more obvious jokes throughout.

It sounds like a complicated recipe, but not so. At the initial outlay, you may feel that this film doesn't know what it's trying to be: a gritty Brit-gangster movie or a down-to-earth kitchen drama. Thankfully, it sits perfectly in the middle, balancing effortlessly between and not too scared to dip it's toe a little further either way. In most circumstances this wouldn't be too appetising, however the choice to ride the fine line between the two genres is perfect for this picture, as it succinctly reflects Bill's state of mind and current predicament.

Which ever way look at Wild Bill, it's clear that overall it presents itself as a British Spaghetti-Western - the stranger in his old town, sacrificing himself for the better good. With a climax that leaves you satisfied, sad and amused, it's a refreshing outcome from a genre that should have had it's time, but maybe now is starting to show it's true colours thanks to the excellent taking of the reins by one it's proteges, Dexter Fletcher. It's a touching and enjoyable piece, perfect for Fletcher dedicating to his recently passed father. And I can't wait to see what Dexter's going to give us next.

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