filmbore pick of the week - A Room For Romeo Brass

A Room For Romeo Brass

 

Director: Shane Meadows

Screenplay: Shane Meadows, Paul Fraser

Starring: Andrew Shim, Paddy Considine, Ben Marshall

Year: 1999

Language: English

UK rental release date: March 2002

IMDb

LoveFilm

Rotten Tomatoes

Back in June I wrote a review on the fabulous directorial debut from Paddy Considine, Tyrannosaur (read the article here). In that review, I mentioned how Considine fell into the film industry while helping his old friend Shane Meadows with some rehearsals on his second full length feature film. Well, it's been a while and I think it's about time I talked about the wonderfully original A Room For Romeo Brass.

Romeo (Andrew Shim, This Is England - film and TV series) lives in a normal working class housing estate with his mother and sister but is estranged from his violent father. Thankfully, his days pass by swiftly due to his close friendship with his neighbour Gavin aka "Knocks" (Ben Marshall, Anita And Me). Knocks has some troubles of his home, with his overprotective mother, under-protective father and a looming spine issue that impedes him with a limp. But together, the lads keep their strength as teenagers do...with quick banter and constantly getting into trouble.

It's not until a potentially explosive, but fortunately brief, run in with some local youths is blighted by a strange fellow, Morrell (Paddy Considine, Dead Man's Shoes, Submarine) that their lives take an interesting turn. His heroic outburst impresses the boys and they adopt him as a third member to their exclusive gang.

Even though Morell is much older than Romeo and Knocks, they can't help but treat him as the immature member of the tribe. Mocking him when the opportunity present itself, they feel a warmth and consideration towards Morell, not only as they feel protected by him but that it's also pretty cool to hang out with some not of their age.

But, there is a gloom rising. Knocks will be having his back operation soon, and Romeo's dad is returning to the neighbourhood. The expectation starts to bring an edge between them both, clouding them from the sudden approaching curve ball (I can't say what- Spoilers!) that segregates them further as their relationship is tested to the extreme. Can their friendship be repaired?

I knew little of Shane Meadows before I watched this film nearly ten years ago. I'd heard of his debut (the moody and excellent Twenty Four Seven) but hadn't seen it. My girlfriend's late brother had purchased the DVD on a whim due it's filming being in Nottingham and as we waited for the disc to spin into action we had no idea what to expect...by the time the film finished I was an instant Shane Meadows fan.

Starting out as a straight forward British drama, it's so easy to get into. This, I think, comes down to the combination of two important elements: the script and the cast...

Shane Meadows and his long time collaborator, Paul Fraser,  have known each other since they were young lads in a similar housing estate to that of Romeo's and Knocks'. Using their own experiences they were determined to craft a tale that embodied everything they loved and hated about growing up. Bringing their heads together they starting piling together the bones of the story and with a strong enough script they started rehearsal sessions, which is where our Paddy comes in.

One of the scenes involved some experiences that Meadows and Fraser had in their earlier years with some older lads befriending then bullying them. They asked Paddy Considine to represent the gang to flesh out the scene but what erupted from these sessions was a character they didn't expect - the foundation of Morell. His genuine and obscure performance drove them to make changes to the tale, bringing in aspects to this new character to create a different trail for the story to take. And from this, Considine got his full feature acting debut.

Not only is Paddy outstanding in this (with unforgettable moments, trust me!) but the rest of the cast are just as refreshing. The two young leads are showing the saplings of raw talent throughout, and have instant natural chemistry. I'm not sure if they were friends before this film, yet they give the impression that they've known each other for years. You could forgive the naivety of youth for this, but it's clear from watching the two of them that they have acting blood running through their veins as they handle the film's material with the appearance of experience and maturity. 

Obviously, you can't brush over the brilliant but brief cameo's of Shane Meadow's himself as the chip shop owner and Bob Hoskins as the boy's teacher, but each other character has great screen presence too: The parents of both lads are both comical and melancholy, using the excellent script to their advantage. There is an especially overwhelmingly great performance from Frank Harper (Lock, Stock..., The Football Factory) as Romeo's dad - a troubled, guilt-ridden father who is trying to re-establish his part in the Brass household. And Vicky McClure (also of This Is England fame) is stand-out in her debut role as Romeo's sister, Ladine. In fact, a good percentage of the actor's were cherry picked from the Nottingham Television Workshop, where Meadows frequented to tap into new and local homegrown talent; a feat he would continue to uphold in his future projects.

     

It's this overall organic pairing of cast and story that shines through the whole piece, giving it a natural charm rarely matched by small British movies. For raw UK film making it's difficult to find anything better. Shane Meadows has continued to follow these methods throughout his body of work, which is why we are consistently treated to genuine brilliant story telling. He is the prime example of what good independent film production can achieve, and even though he is now a more famous individual, it's satisfying to know that whatever he turns his hand to will always have a little bit of his grass-roots pride and flare.

Personally, there are a couple of films of Shane's that I would pick over this one...but only just.  This Is England and Dead Man's Shoes are far better known pictures, and need less promotion than this beautifully local story, and if you haven't seen any of Meadow's work before this is a perfect introduction. It's the piece that made me fall in love with his work and I have a feeling that it could so for many others.

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filmbore pick of the week - The Devil's Backbone

The Devil's Backbone (El Espinazo Del Diablo)

Director: Guillermo Del Toro

Screenplay: Guillermo Del Toro, Antonio Trashorras, David Muñoz

Starring: Fernando Tielve, Federico Luppi, Marisa Paredes, Eduardo Noriega, Irene Visedo

Year: 2001

Languages: Spanish

UK rental release date: March 2002

IMDb

LoveFilm

Rotten Tomatoes 

After the excellent Cronos, new film maker Guillermo Del Toro got the chance to craft a major movie in Hollywood, now known as Mimic - a decent film that's entertaining, but not a reflection on his incredible debut. So what did he do next?...

Thankfully, his next project was to become one of his best. Now an auteur of film, lovingly building new landscapes in cinema with his own personal visions, Del Toro is synonymous with his more recent affairs, the Hellboy movies and the unforgettable Pan's Labyrinth. But it would be his third picture that would cement his look, his feel, his world...his scandalously overlooked film The Devil's Backbone.

Carlos (Fernando Tielve, Goya's Ghosts, Unmade Beds) has been left to an orphanage after his father was taken in the Spanish Civil War. Joining other children who's family have fared the same fate, he has to establish himself in this new environment while pressure mounts as the knowledge of the previous owner of his new bed, Santi, slowly becomes more aware to him.

The orphanage is run by Dr. Casares (Federico Luppi, Cronos, Martin (Hache), Fermat's Room) and his friend of many years Carmen (Marisa Paredes, Life Is Beautiful, The Skin I Live In), who have an underlying responsibility to more than just the children. They store valuable goods for the Republican loyalists as silent heroes. It's a burden that they hold with humility, as they continue to care for and impart wisdom to the orphans.

There are other plans afoot though, thanks to the aide and groundskeeper Jacinto (Eduardo Noriega, Abre Los Ojos, The Method) who has his eyes on the prize coveted by his employers. He has to question his morals and ethics while seeing his plot through, as his connection to the orphanage, the children and his romantic interest Conchita (Irene Visido, Cuéntame, The Lost Steps) engulfs him. As the children's teacher, Conchita's care and love for the orphans sways his position within his strategy.

But amidst all of these goings on, with themes of war, corruption, drama and politics, the young boy Carlos is on a different path. The more he discovers of his new home, the deeper the mystery of a ghostly presence uncovers itself. Scared but intrigued, he investigates further, drawing out the truth of the orphanage's history and exposing the nature of the other players in the tale.

There is a clear mix of genre's in this film, which can be difficult to handle. It's also a hardship to get your actors to carry your tale when it has different avenues. Luckily,  it has an incredibly strong cast. The child actors are superb, standing strong next to the established adult actors. With everyone sitting so well in their little chunk of the story you don't notice the segregation in plots and vibe. It feels like an encompassing piece at all times, and it's only on recalling portions of the film that you notice how different each scene can be.

It's beautifully written too, with some great lines for each of our star's to play with. A particular chat between Carlos and Dr. Casares about babies in jars (where the film gets it's title from) is a subtle but delicately written monologue that sits as a spine (pardon the pun) to the thematic thread the story upholds.

You have to take note of the visual aspect here as well, as you can see familiar techniques seen in Del Toro's later, more famous pieces. It's wonderful to see where his experience has grown from, as he lets his camera guide you through this thrilling and intricate tale. Also, the special effects sit comfortably, never smothering the film with little moments cropping up when necessary. It's an extremely well measured production, that could have suffered if the safe decision to go with heavy CGI throughout would have been taken.

However, when you strip all of the mechanisms away, you're left with an engrossing twist on a the modern ghost story, sat within a political struggle at an orphanage during the Spanish civil war. This is not how I would want to describe the film, even though these pockets of styles' marriage is an astounding accomplishment, especially so early in Del Toro's ever evolving movie career.

You see, when I want to recommend some world cinema with a mix of genre's that has excitement, inspiration, sentiment and a solidly individual feel this is one of the first films I recommend. That is how I would describe it to people. I also say "it's by that guy that made Pan's Labyrinth" which catches people's attention. Guillermo Del Toro is now a household name, and this movie is proof of what believing in a new creative film maker can do. His output in cinema is extraordinary, and unsurpassed by most, making him clearly one of the most talented directors in the film industry. His visions create awe, and I for one am glad that he has brought us films like The Devil's Backbone, as it has lead him towards a stronger future at making our world a more fantastical place.

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filmbore pick of the week - Headhunters

Headhunters
 
Director: Morten Tyldum
Screenplay: Lars Gudmestad, Ulf Ryberg
Starring: Askel Hennie, Nikolaj Coster-Waldau, Synnøve Macody Lund
Year: 2012
Languages: Norwegian
UK rental release date: August 2012


IMDb
LoveFilm
Rotten Tomatoes

Reputation, height and beautiful art - not the first three milestones you may choose for a thrilling story, but in the case of Jo Nesbø's Headhunters it works a treat!

Through voice-over narration we are introduced to Roger Brown, an enigmatic, lovable rogue who is an expert at playing the game. Through his understanding of corporate culture and his ability to conjure the correct perception of an individual, Roger (Askel Hennie, Max Manus: Man Of War, Uno) seeks out new employees for senior positions. Yet, this is a ploy, as a shadow over his true venture of "acquiring" the target's fine-art collections. He expertly plays short cons in the long-game style to get what he needs.

All of this is in aid to continue his charade of wealth, partly to impress his ex-model wife Diana (Synnøve Macody Lund) who runs an art gallery. While visiting her latest exhibit he is brought to the attention of Clas Greve (Nikolaj Coster-Waldau, Jamie Lannister of TV series, Game Of Thrones), ex-CEO of a major company and perfect fodder for a headhunt. Clas intrigues Roger, and through digging that little bit further is presented with an opportunity of the ultimate prize - a family heirloom of a rare Rubens painting potentially worth 100 million dollars.

With his new MacGuffin secured, our lead sets his sights on obtaining the piece. A small falter in his flawless method and the discovery of a phone's location sets off Roger's more commonly contained emotions. He takes his eye off the ball which leads him into a realm of mind games and deceit, forcing quick thinking and unwanted slapdash behaviour. His whole world implodes on itself as he plays victim to an ensuing manhunt; an exciting, thrilling and tense ride of desperate moments to both flea and protect his exquisite loot.

Norway has produced some strong movies over the years, and Headhunters sits at the top of the nation's impressive roster. It enters with a care-free vibe, bringing us close to the head hunter's world. As expected from our European cousins, this is yet another sturdy Nordic production, most notably for it's solid camera work and great use of lighting. There's a fine, light sheen across most of the movie giving a fresh feel, even trusting natural illumination in some scenes for that genuine effect. Also, it's a strong adaption, settling comfortably into the story and using it's strength to expose the emotive characters in the plot.

These are some confident individuals too. Both our lead and supporting men ooze cool, and even though Coster-Waldau has an undoubtedly hefty screen presence, it doesn't overpower the slickness of Hennie's performance. He is an ethereally charismatic leading man, and carries the weight and duty of the film with grace and aplomb. There is some real depth to the role too, through a complex that he is not enough man for the woman he loves. His lack in physical stature impedes his vision of the true world around him, so she strives to live in his sideline career as a beeline into securing what he believes he doesn't deserve. These nuances are only touched on briefly at the start of the picture, yet Hennie is capable of manifesting the motives and presence driven by these thoughts all the way through the movie. It's a calm performance in that respect, and paints the film in an interesting hue.

We do have to return to our supporting characters though. Even though Headhunters is a perspective from one individual, every other character fits snugly into its jigsaw. Coster-Waldau as Clas Greve is a great casting decision. Game Of Thrones has propelled him to loftier heights of recognition, helping with promotion but he is the perfect choice for the part. He weaves class through his scenes, no matter how subtle but still leaving morsels of intrigue in his wake. What are his motives? Is he a con-man too? Why did he leave such a lucrative job? He handles the part of Greve with refined precision. It's also worth mentioning Synnøve Macody Lund as Roger's wife, Diana. This is her first acting role as far as I know, and a complicated one to play as the tale uncoils. She is natural and believable, and expresses such minute mannerisms to help in building more mystery and inquisitiveness. The role could have easily gone to a number of actresses but I'm glad that she had a shot at this, as she is a stand out performer in my view, and could have a strong career ahead of her.

Overall, this is a smart and delicately portrayed tale. It's evolves into a rip-roaring ride through deception, confusion and pretty cool GPS transmitters. You'll be gripped from start to finish, bowled over by the revelations throughout and busting-a-gut to see the outcome, as Roger Brown is forced to act in a realm he no longer comprehends.

Reputation...it takes years, even a lifetime, to establish and only seconds to destroy. it... but can it be rebuilt?

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filmbore pick of the week - Waltz With Bashir

Waltz With Bashir

Director: Ari Folman
Screenplay: Ari Folman
Starring: Ari Folman, Ronny Dayag, Ori Sivan, Ron Ben-Yishai
Year: 2009
Languages: Hebrew, German
UK rental release: March 2009

IMDb
LoveFilm
Rotten Tomatoes

Dreams can be mysterious at the best of times, sometimes leading us to question what our brain is trying to tell us, while even pushing us to investigate their cryptic beauty. But never has this been as poignant as the motives behind Ari Folman's exquisite animated documentary, Waltz With Bashir.

A conversation between Ari and a friend who he knew from the Lebanese War, where his companion is haunted by a dream about ravenous dogs hunting him down through familiar streets, uncovers the revelation that Ari has very little memory of his experiences as a soldier. There is one particular moment that sticks with him - he recalls emerging from an ocean with a few other colleagues, presented with a decayed city skyline. A morbid air hangs amongst the calm, as he is puzzled by combination of both the serene and looming horror of the ever closing landscape. He knows that this moment has a striking importance to his time at war, but is unable to delve any further into this snapshot of his life.

The intrigue of this memory starts him on a quest to recover the lost points of that particular moment. Somehow, he has allowed his mind to lock it away, so he takes it upon himself to reconnect with other veterans from the war, and with anyone else who has some form of connection. As he continues to unravel the past experiences of others, he is gifted with slivers of his one true memory, slowly evolving within his mind, and leading to the despairing scenes that he knows are waiting for him...just likes his friend's nightmare-dwelling hounds.

What appears to be a realistic and mature animated story is in fact a true account of Ari's mission as a soldier. Although some of the interviews and accounts have been re-enacted (still by the real people involved) for cinematic perfection, what's handed to us is a raw, emotionally charged view of the Lebanon War. What's also incredible is the slow reveal of Ari's inner dark experiences, that were so subliminally shunned by his defensive brain. It's a brave and exposing tale of truth, and you feel privileged to be involved in it.

Now, it is indisputable that this is a harrowing but intriguing true life story, as are many other war documentaries, but there are many other factors that make Waltz With Bashir so unique...

First, we have to mention the animation. The technique, invented by this film's Director of Animation, Yoni Goodman, is a stand-out star of the piece. It brings an astounding uniqueness not yet touched on by any other war docu-film, or any documentary for that matter,  that I have seen. Along with Yoni's team of animators (ten as far as I know), a further team of three illustrators were brought by David Polonsky, who drew the majority of the piece himself. The output generated by this animating super-squad is breathtaking, bringing a comic book vibe to the film. Just watching a trailer of the movie itself is a work of art - there's not enough praise for the stylisation of this output.

We also need to draw our attention to the interesting choices of music - be it classical, 80's or originally composed, thanks to the great craftsmanship of Max Richter. Light and dark are scattered across the whole tale through anthems and themes, that are adeptly chosen. These song selections are partnered with some affecting switches between the talking-heads style interviews of reality, and the artistic representations of events. The marriage of these editing choices both visually and audibly, also exploit the engaging animated style. It's an adventurous method that could have failed so badly, and probably would do for most pictures, but it grants Waltz With Bashir with a personality of its own.

And finally, I can't leave the film alone without expressing my joy at the subtle choice of humour throughout the entire docu-film. Don't expect gut-wrenching laughs when I say this, but there is gentle comedy sprinkled across the celluloid. Taking into account all of the points I've mentioned - the animation, music and switches between the real and bizarre - the small veins of humour sits perfectly, with a grin of satire. I was surprised when these few small moments appeared, and pleasantly so. These choices are intelligent and defiant against the backdrop of war, and give the piece a fresh feel.

Even though it was Oscar nominated, this gallant, heroic and respectful work of art is still unknown to most, which is a real shame. There is nothing else out there like it, and repeat watches open up newer avenues of emotion and awareness. Ari Folman, through the four years of production on such a personal film, has built a brutal but beautiful picture of war, and his journey through his own demons is a genuinely rewarding experience.

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August Overview

A boost of activity - August triumphs!

August was a busy time for filmbore. The way the weekends landed meant there was an extra review to normal, further articles long awaited finally pushed through the fray, and terrible news prompted sweet memories of geniuses that have left our realm.

But, every one else was busy too...The sporadic nature of the weather in the UK meant that nobody knew if they were coming or going. The football season kicked off again, along with the inevitable banter that partners it. And the Olympics thrived from surprise successes and feats of near superhuman proportions. It's was a time for hectic schedules, quick decisions and incredible achievements.

Now that it's all over, you might have five minutes to look over the activity on the filmbore site that you may have overlooked during this tumultuous month. Here's a recap of what went on...

5 film reviews!

Thanks for your unique timing August! So, due to a bonus Friday within the month's 31 days you were treated with not just the standard 4 pick-of-the-weeks but a total of 5 of them! Here's what I selected for you:

A true, British film of grit, spit and sweat, Neds smashed onto the rental scene over a year ago, but it still leaves a mark in the air. Peter Mullan sits behind the camera on this one (along with a co-starring role). However, it's the outstanding youthful cast that really stand out, especially in the the lead Conor McCarron as we see him transform throughout the piece's journey.

Intacto shows you what you can do with your self-perpetuating luck if it was a tangible commodity that you could use to your advantage, especially in black-market gambling. We experience this new world through the eyes (although sometimes blindfolded!) of Tomás as he is introduced to his new ability. A great choice for foreign cinema newbies due to it's Anglo-Spanish production, this is wonderful indie with a really unique theme.

Whether you've heard of the Stanford Prison Experiment or not, you have to see the incredible Das Experiment. A realistic, humorous, emotional ride through the psychology of a human being's behaviours and instincts. Loosely taken from true events, this is German drama at it's rawest, presenting cracking performances and authentic relationships.

I may have said this numerous times, but Brotherhood is one of the greatest war films ever made. You are doing yourself an injustice by not watching this. The intensity of the two brother's relationship, and their impending journeys through different destinies strive to support an incredible passionate drama of how family and honour are affected by war. Set in South Korea just as the civil war breaks out, this is a must see!

Bunny And Bull has an identity like no other, and it's proud of that. It's the ideal choice for anyone who wants to delve into some truly quirky British humour, as we bear witness to the wonkiest trip round Europe ever. As you unravel the reasons for Stephen's agoraphobic, depressed, OCD lifestyle you are gifted with a unique comedic story, plus the fantastic sets will stick in your mind forever!

filmbore whinged...then flipped to the positive

It's a frustration that the movie-making machine still churns out recycled rubbish in regular intervals, but even more annoying is the constant interest in remaking foreign films in an identical fashion just to get western audiences to watch a film without the subtitles. All of this keeps happening, while the studios pocket some profits form somebody else's genius. I explored numerous examples on my article Like for like remakes...why?!? and hope to raise awareness of this travesty. Please take a look at the piece and leave your comments and views.

Nevertheless, my mire of anguish on the matter slowly sunk away as I fondly remembered the handful of genuinely good revisits to some great films, so I put together (what I feel to be) the Top 10 of Decent Remakes. Take a look and see if you agree. If you don't, and feel I've missed some films out, please post your comments at the bottom of the article. The rule is that the remake has to actually be a remake for starters, then be a unique and justified version with artistic merit. You may be surprised that some of these films are even remakes, but it's proof that sometimes, remixing can work!

Sad news...

Finally, we were all saddened to hear of the loss of two great producers last month - Brian Gerber and Tony Scott.

Tony Scott (1944 - 2012)

Brian Gerber (1971 - 2012)

In honour to the latter's passing, I've put together a small tribute, containing clips that I consider to be his more rebellious and rock-n-roll moments... the way he will want us to remember him. Please take the time to watch the scenes, and if you have any other moments of madness, or maverick scenes from his movies, please add them to the comments box.

Rest in peace.

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