Top 10 "Re-Imaginings"

As promised, there's newer content on its way and more Top 10s is part of that. So, I felt that with the recent success of Quentin Tarantino's recent picture, Django Unchained, I thought I should investigate decent re-imaginings.

Okay, Django Unchained is very tenuously linked to the original series of films, but that's the point. The idea of a good re-imagining is that it takes inspiration from its source material, using sometimes just a core structure of the story and characters, and birthing a unique tale in its own right (except in a couple of examples, as you'll see below). The original and new equivalent could have some of the same DNA but are separated by era's, characters, genre and even title.

To explain the concept, take the film Pretty Woman. Some people are not aware that it is a re-imagining of one of William Shakespeare's most popular plays, The Taming Of The Shrew. Absorbing the core plot and premise but completely re-establishing it's own identity in the modern day, it's a fine example of a re-imagining done well (except, it just missed out to a superior pair of versions included in our top ten).

The criteria: No direct adaptations or re-adaptations; no parodies, as they are not re-imaginings but humorous re-do's; certainly no remakes; no comic book conversions, as it's easy to say they are all re-imaginings in their own right, where really they are technically adaptations (the new Batman films don't count, for example, as they take a lot from the source material, and are really just reboots). Really, they have to have more to do with the original source than just a name. However, they can take influence from different forms of media, covering TV, Film or Scripture. Oh yeah...and spin-offs don't count either!

WARNING! Some major spoilers ahead...

10. The Forbidden Kingdom (2008)

Many attempts have been made to tell the epic tale of The Journey To The West (Monkey! being a favourite) but this recent take on the classic saga not only modernises some of the familiar characters but highlights some of the untapped comedy chops of kung fu legend, Jet Li, as the Monkey King. More from the perspective of a character sharing a name with the infamous monk Tripitaka (in this case Jason Tripitikas), it's a comical approach to the source material.

9. Easy A (2010)

Emma Stone really made her mark in this alternative take on Nathaniel Hawthorne's 1850 novel, The Scarlet Letter. A prime example of when lies can grow uncontrollably, Stone establishes her comedic talents as the girl who told a little white fib about losing her virginity, only to regret the consquences. A nice nod to original book, the red "A" on her clothing, representing her "punishment/status" for her supposed conquest.

  

8. Natural Born Killers (1994)

Oliver Stone was admittedly inspired by Arthur Penn's romantic buddy film, Bonnie & Clyde when filming Tarantino's script. Not only did he create a modern equivalent of the duo in Mickey & Mallory Knox, but homaged Penn's famous death scene. The shooting of Bonnie & Clyde used innovative techniques at the time, with multiple camera angles & alternating speeds, Stone nodding to this by using similar methods throughout what he refers to as "his road movie".

7. Splice (2009)

There are many versions of Mary Shelley's Frankenstein. Splice takes only notes from the original story, following the template of a scientist out of his depth, lacking the control he believes he has. A result of splicing DNA of different species, Dren displays all properties of her base genetics with some surprises. Natali's inspired tale is a dissection of questions thrown at modern science & its controversial methods.

6. 21 Jump Street (2012)

Little was expected of a re-imagination of the late 80s show that launched Johnny Depp, so it was a refreshing surprise when we were presented with this genuinely hilarious romp. Refreshed for the modern day school kids, the role reversal of our two leads is the perfect impetus for numerous pranks and plot developments. Plus, the hilarious cameos from Depp and fellow actor Peter DeLuise as older versions of their original TV characters adds a nice comedic cherry on top!

5. The Truman Show (1998)

Many tales have referenced The Twilight Zone, but non more beautifully realised than Peter Weir's attempt. Inspired by the episode "Special Service", Jim Carrey proved he was more than a clown by playing the touching role of Truman Burbank: a man so delightfully ignorant of his town-sized Big Brother cage. Never has a film tapped so deeply into the raw desire to escape life's trappings than this sweet story of a man who just wants to explore.

4. My Fair Lady (1964) / Pygmalion (1938)

This is sort of an adaptation being based on Shaw's 1912 play, but the overall plots of all versions including the original are re-imagined from Shakespeare's The Taming Of The Shrew. Taking the premise of conditioning a woman to be a bride, it draws on the comical aspects of altering someone's class instead, as cockney flower girl Eliza Doolittle must pass as a duchess at a main ambassadorial event. My Fair Lady is the almost identical musical equivalent but is included due to the breathtaking performance from Audrey Hepburn.

3. Star Trek (2009)

On paper, it's technically a re-boot but can also be classed as a re-imagining due to its brave approach of an alternative time-line and fresh takes on some of the characters. Further Star Trek adventures will belong to a different universe now, so any new tales can be followed without impeding on the historical cannon. With an injection humour and excitement this is an example of when a take on an established franchise shines on an exemplary level. 

2. Throne Of Blood (1957)

One of the greatest of Kurosawa's masterpieces, this is the most dramatic & moody version of Macbeth you are ever likely to see. Extracting the narrative and characters of the famed Scottish play and placing them into feudal japan, the transposition of the story exudes from its new setting. If you are new to Kurosawa but not partial to samurai epics, this may be a better introduction to his work, especially if you are familiar with Macbeth.

And the winner is...

1. Star Wars (1977)

Many forget that this behemoth space opera was in fact inspired by a picture from the helmer of out no.2 slot, Kurosawa. George Lucas was inspired by the comical and unique story of one of Akira's other greats, The Hidden Fortress.

There are many references that you can pick up on from watching Kurosawa enchanting piece: the need to locate a princess hidden away; the "Hidden Fortress" a foreseeing allegory for the Death Star; the hunt for treasure to restore the clan becoming the hunt for the Death Star plans to prevent the end of the rebellion... even a scene where the General is convincing guards to let through a border that is mirrored in Mos Eisley with Obi Wan Kenobi ("These aren't the droids you are looking for").

But the most definitive inspiration taking from The Hidden Fortress is the technique of telling the story from the perspective of the lesser characters. In the original they are the two peasants, constantly bickering, but we know them in Star Wars as C3P0 and R2D2...who are constantly bickering! It's these two iconic characters that hold the whole SW galactic glue together, and they are an homage to characters a lot less likeable in the Kurosawa's piece. But there are still likenesses to be drawn from, especially in one key moment in the beginning of The Hidden Fortress when the peasants have an argument and are separated. Their re-union occurs when captured by another group in an elating moment to see each other again, just like our favourite droids storming off in different directions, only to be captured by the Jawas in the "R2, it is you!" scene.

But let it be said, one of the most important movies of modern cinema did not steal from this foreign classic...it purely took reference and essence from it's predecessor to be re-crafted into a glorious monument of sci-fi glory, and is clearly grateful for that privilege...and Kurosawa's technique of screen wipes!

Just missed out: Pretty Woman, Disturbia, Cruel Intentions, Hook, West Side Story

If you disagree, and have other suggestions, please post comments at the bottom of the post. Or, email me directly on topten@filmbore.co.uk.

And don't forget, you can tweet me @filmbore or post on my Facebook page here.

filmbore pick of the week - Bronson

Bronson

Director: Nicolas Winding Refn
Screenplay: Brock Norman Brock, Nicolas Winding Refn
Starring: Tom Hardy, Juliet Oldfield, Matt King, James Lance
Year: 2008
Language: English
UK rental release: July 2009

IMDb
LoveFilm
Rotten Tomatoes

Both Tom Hardy and Nicolas Winding Refn are now household names due to their indelible stamp on recent film culture. Refn has astounded fans of multiple genres with the beautifully shot modern-western, Drive, while Hardy has wowed us with his scene-stealing performances in Inception and Tinker, Tailor, Soldier Spy and owning the screen with ineffaceable force in Warrior and The Dark Knight Rises. However, many are yet to experience the dynamic combination of both the director and actor in their earlier collaboration, Bronson.

Michael Peterson (Tom Hardy) always wanted to be famous. Prior to taking the mantle of Charlie Bronson, after the American film star rocked the world with the impacting Death Wish (R.I.P. Michael Winner), Peterson was always misunderstood. He was always sharp and reflecting, but always found himself on the wrong side of the law.

Primarily, he was just a thief. In order to provide for his new young family, he fashioned his own sawn-off shotgun and attempted to rob the local post office. While he only managed to take £26.18 from his heist, he was still sentenced for seven years imprisonment. It wasn't until he started serving time though that he really felt like he had a place in the world.  

He challenged any authority with fists. Fighting his way through his term inside, he started to gain the kind of reputation that has led him to be revered as the "most violent prisoner in Britain". Wardens found him impossible to handle, even in large groups, and kept moving him from prison to prison as he left a a trail of bloodied uniforms in his wake. These events predictably kept extending his sentence, at one point even leading to him being certified as mad and to be held under medication at a hospital for the criminally insane.

He was also known for the odd bit of rioting, famously leading the inmates to numerous break-outs, holding off the local forces from the roofs of their own prisons. The costs of damage to the facilities from his actions were so high (£100,000 at one instance) that he was considered too expensive to keep locked up.

He experienced a brief moment of freedom. After visiting his parents, he met up with a comrade from his time inside, Paul Daniels (Matt King, of TV series Peep Show fame) to take up a career in bare-knuckle boxing. It's during this time, following the suggestion from Daniels, as his fight promoter, that he change his handle to one of a more theatrical nature. He was passed the moniker, Charles Bronson.

No fight was too much for Bronson. Sometimes taking on two men at once, even dogs were sent his way, all of which he handled with the relentless drive and power that he developed while in incarceration. But his new career was slow to move, and he wanted more out of his new East London "venture". Staying in the area, he met a new love interest in Alison (Juliet Oldfield), a young woman impressed by his physique and demeanour. In order to impress her, he wanted to give her a ring - of which he stole from a jewellery shop. Then ended his term of freedom.

Charlie Bronson has spent 34 years in prison, 30 of which have been in solitary confinement. Over the years, he has escalated to a celebrity status through his own means, including a late discovered talent in cartoon art. All of these key moments of his life are here for you to experience, and you may be surprised that even though this force of nature can chill from his known actions, you may just come to like him a little bit...

As a Brit myself, I was aware of some of the facts on Charles Bronson. I knew of his illegal fighting reputation and his continued violent outburts, but little else. So, on first watching Bronson, I was intrigued to understand why such a man, who took part in such animal acts, was so well known, and highly respected by some.

The story of Michael Peterson is an arresting one. The film takes you on a journey from our lead's own perspective, as a narrator, performer and prisoner. He explains his reasons for his crimes with blatant honesty, seeing partly no issue in what he does. But his enthusiasm rises when discussing his scuffles with his jailers. It's clear that this is where he really started to find his identity in unlocking his instincts and passions, and it's in telling these moments in such an unusual way that the film starts to grab your attention.

This is where Nicolas Winding Refn directorial style really flourishes. Instead of just playing out Charlie Bronson's life in the standard biopic format, we are treated to a stand-up comedy style telling of his past by the lead character, dressed in all manner of different guises, showing the flare and wildness of his mind and persona. Some events fleet past in newspaper cuttings, or slide shows (even real news footage at some points) and these moments break up the rest of the story perfectly. They also inject the necessary concoction of humour and drama needed to tell such a riveting tale.

For those of you who are fans of Refn's recent success, Drive, you'll recognise his lightning and angle techniques, sometimes crisp and highlighting, other times softened and moody, but you'll also be treated to some comical asides and sketches not attempted in his more well known revenge tale. For instance, his first encounter with Paul Daniels is completely off the wall, where two remarkable individuals first cross words over the politeness of serving a cup of English tea. There's a quirky sense to some of these scenes, lightening the general disposition of the piece before it brings you back down to earth with a left hook.

This cinematic fist is Tom Hardy. In order to gain the physically of the man he was about to play, he underwent a brutal training regime, basing it on the type of exercises Charles Bronson himself would have undertook locked in his cell. Even though his change in appearance is impressive, it's just muscular prosthetic really, as it's his engaging performance that truly wins over.

I may be a bit biased here, as I'm a huge fan of his work, but there's no mistaking Hardy's brilliance in Bronson. Even though he is not delivering an exact impersonation of the famed prisoner, he in fact embodies him in such a rich fashion you forget he's acting. His hypnotic execution is an example of an actor when he is absolutely on point, and he breathes such an incredible amount of life into this tale you'll find it difficult to not feel absolutely consumed by his presence on screen. Even the real man himself was amazed. Initially speaking with Charlie Bronson via the telephone, when Tom met with him in person after his training and of imbuing his character, Bronson was so impressed with Hardy's transformation and embodiment of himself that he reportedly shaved off his own trademark moustache for Tom to wear for the film!

Returning to a non-biased approach, I will admit that Bronson is love-it-or-hate-it film, splitting audiences for it's alternative approach to a biopic. Yet, I think it's the jaunty perspective taken by Refn that gives the piece an identity apart from other movies of this ilk, and it certainly has the vibe of a future cult classic. Whatever your view, you cannot disagree that this is stunning combination of both art house and British drama, thanks to Refn's creative hand and Hardy's direct representation of a underground icon.

Bronson was the first film that I had watched by Nicolas Winding Refn, so I had no idea what to expect. I am favourable to good biopic, but sometimes I don't just want an account of someone's life but also an interesting approach to the subject matter. What Refn has bravely attempted here with imaginative filming techniques is to draw you in, not just to the person we are dissecting but to the creative perspective that Charles Bronson himself appeared to feel. This makes watching the picture an overall more absorbing experience and you can't help but sit on the fence when considering some of his actions. There's no doubt that he is criminal in what he does, but the genius idea of allowing his persona to justify what he does is enlightening. Especially as it helps you to understand a man who rarely was.

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore pick of the week - Goodbye Lenin!

Goodbye Lenin!

Director: Wolfgang Becker
Screenplay: Bernd Lichtenberg, Wolfgang Becker
Starring: Daniel Brühl, Katrin Saß, Chulpan Khamatova
Year: 2003
Language: German
UK rental release: September 2007

IMDb
LoveFilm
Rotten Tomatoes

How do you cope with change? Should we be mollycoddled from it? Will we just handle it and move on? Or will we rebel against these new strange ways? Is hiding the truth from others just hiding it from ourselves? These questions, and many more are put to test in Wolfgang Becker's excellent Goodbye Lenin!

As a boy, Alexander dreams of being an astronaut. As part of an East German family before the falling of the Berlin Wall, the wonder of space travel is a form of escapism. Early in his life, his Father started an affair with a West German mistress and eventually left them. This led his mother, Christiane (Katrin Saß, The House On The River), into a bout of depression. A dedicated teacher, she decided to devote herself further in her socialist ideals as an activist for the common people, helping those in need with the smaller things in life.

Ten years later, and Alex (Daniel Brühl, The Edukators, Inglourious Basterds) is now a TV repair man. He may have a whisper of his childhood dream in his eyes, but some of that drive no longer sits on the surface. During a protest against the oppression of the Berlin Wall, he meets a new love interest, Lara (Chulpan Khamatova, Luna Papa, Tuvalu) through an embarrassing circumstance. When they charge on the authorities, Alex has no idea that his mother is near. On seeing his involvement in the stand-off, Christiane collapses in the middle of the street from a heart attack, finally falling into a coma.

During Christiane's forced slumber, Germany begins an enormous transition, with major political figures retiring and further pushes from patriots to break down the Berlin Wall, eventually ending in its removal. Alex has to adjust to the westernisation of his homeland, which he revels in. It's at this time that he's re-united with Lara, who's a nurse at his mother's hospital - a new romance in a newly combined state; everything new and exciting.

Alex and his sister, Ariane (Maria Simon) have to take care of their mother when she finally wakes. Her condition is delicate and her mind is tainted with a little amnesia. Due to her fragile state and with her heart & soul still entwined with her socialist party pre-Wall, the shock of the recent changes to Germany in her absence could be dangerous to her health, even lethal. So, Alex does all he can to keep it all from her, going to great lengths to shield her from the evolution taking place right outside her window. He fashions food and drink using containers and jars pre-westernisation. He even puts videos of old TV programmes on, including ones created by himself and his friend, and convinces Christiane that's everything is happening live.

Alex's ultimate challenge though is to put together a birthday party for his mother without giving the game away. Even the guests to the event are in on the act! Deeper and deeper, Alex protects his mother from the truth that he feels could kill her. The lies get too much as he takes it too far and he is so resolute in his task he is eventually engulfed by it. But he's not the only person with a secret...

When setting a tale in such a hefty political moment in European history, it takes a deft hand to create the right feel and tone to bring a story to the screen tastefully while not too dramatically. When considering both pre-Wall paranoia & distrust and post-Wall euphoria & confusion, it's vital to remember that the falling of the Berlin Wall is a celebrated moment in Germany, even if such a drastic change impacts everyone so heavily. As an outsider to such a huge event, this film helped me to comprehend both of these experiences more fully, thanks to the gentle approach taken by Wolfgang Becker.

There is an important visual style to the film that allows Becker to create an identity. Colours play a particularly strong part at points in the movie: The red communist regalia cloaking the uprisings, draping rooms with a crimson glow during the state marches; multitudes of colours stepping in post-Wall representing the "multi-culturalisation" of Germany (pay attention to the poignancy of the fireworks shot near the end of the film, where red transition into a different colour).

One surprising tone however is the lightness that steps in once both East Germany (GDR) and West Germany (FRG) re-unite. Not just visually either, but in its mood too. The humour in the film begins with this new Germany, with surprising comedy slowly creeping in. Then, Alex's concern for his mother's health helps punctuates the humour with drama, bringing the film back down to reality. It's this gentle care that Becker has taken to the opposing feelings that really elevates the film. However, our director isn't too scared to allow drama and comedy to share the same screen once in a while.

The backbone to this smart structure is an elegantly written screenplay. Becker and Lichtenberg's script is solid throughout, even daring to drop in the odd Kubrick reference here and there (the 2001 one is discussed by our actors, but see if you can spot the parody of A Clockwork Oranges fast-forward sex scene). Yet, it's the voice over elements gifted to Daniel Brühl that really stand out. Influenced by Alex's childhood passion of space and science, these narratives are both absorbing and poetic, serving as an allegory for the cultural differences between past and future.

That takes to Daniel Brühl himself. You'll recognise from Inglourious Basterds, and soon see him take to the track as Niki Lauda in the biopic Rush, and this bigger, more international roles are totally deserving to such a skilled performer. In Goodbye Lenin!, Brühl is a strong lead, carrying the whole picture. Not wanting to deter from the rest of the cast, who are also strong, but his forthright actions as a character and his charismatic approach to the role are just what the story requires, allowing you to feel and view his tale from his unique perspective. The embodiment of experiencing a new country growing around him, while falling in love with his sole mate, all while trying to hide the changing world from his sick mother is a difficult one to grasp, but Daniel Brühl seems to portray this effortlessly, which for me is the final keystone to a solid and entertaining piece of German cinema.

Goodbye Lenin! plays itself as a poetic approach at dealing with change and the impact that such an important time in German history has on its patriots. A formidable script from the helmer and his colleague Lichtenberg shines through a film that, on paper, shouldn't be approachable when considering the sensitive time in which it is set. Yet, the glorious performance from Brühl as our lead and narrator combined with a tasteful balance between laughs and drama makes this film suitable for any audience member.

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore pick of the week - The City Of Lost Children

The City Of Lost Children (La Cité Des Enfants Perdus)

Directors: Jean-Pierre Jeunet, Marc Caro
Screenplay: Gilles Adrien, Jean-Piere Jeunet, Marc Caro
Starring: Ron Perlmann, Judith Vittet, Daniel Emilfork, Dominique Pinon
Year: 1995
Language: French
UK Rental release: January 2006

IMDb
LoveFilm
Rotten Tomatoes

France is commonly known for its strengths in European cinema with such rich history in the medium. You could claim that cinema was born in France thanks to the genius of such craftsmen as the Lumière brothers and Georges Méliès. As a nation, its movie status is solidified thanks to the country's creation of New Wave, evolving into the films we know today. For years, it has held the torch on an international level, helping to shine a beacon for those wanderers seeking a more cultural cinematic output, and in recent years the big name on anyone's lips is Jean-Pierre Jeunet.

You will know him as the man who brought Amelie to the world, and he may also be familiar to many of you who have ventured further with his excellent A Very Long Engagement (my personal favourite from the helmer). But it's his second picture that really stays with you. Following his uniquely brilliant feature length debut, Delicatessen, Jean-Pierre really left his mark with The City Of Lost Children.

Krank (Daniel Emilfork, Taxandria, La Belle Captive) cannot dream. He is haunted by his lack of nightmares as opposed to his abundance of them, and will do anything to experience real dreams. Unfortunately, this innocent desire involves the abhorrent abducting of children from nearby towns and connecting them up to his own fearsome contraptions, birthed from his scientific but cruel mind. Absorbing their images of slumber, he can feel what they feel and see what they see, and even extend his lifespan a little. 

All of this can only be achieved with the help of his aides, the clones (the always glorious Dominique Pinon, Delicatessen, Micmacs) who answer to Krank's every need. They're a collection of everything that Krank despises: emotions, expression, vibrancy...even dreams. Nevertheless, they are Krank's lifeline, and his pitiful, foul existence would perish without them and so would a regular stock of children.

While a fresh catch is in operation at a harbour not too far from his fortress, one of the findings is a young boy named Denree (Joseph Lucien) who, unbeknownst to Krank, is the younger, adopted brother to the man mountain, One (Ron Perlmann, Hellboy, Drive, Cronos). An ex-whaler and circus strongman, One is a powerful force of a man and will stop at nothing to rescue his little brother. But he doesn't know where to start.

Enter Miette (Judith Vittet), a street-wise, orphaned thief. With her gang of fellow juveniles, Miette is close to the bleak, underground goings-on in the town and wants to get to the bottom of the disappearing kids. With the little knowledge she has, she teams up with One to be the brain to his brawn, and seek out where all the children are imprisoned.

What starts as a rescue mission turns into a dark adventure of conjoined twins, trained fleas, talking brains, cyclopic street police and a mystery clone!

So, Amelie lovers, have you looked into any of Jeunet's other cinematic masterpieces? If not, I strongly suggest you do as the man is an absolute visionary, where even his lesser movies still shine with originality, individuality and an adept ability to still make most other films look weak in comparison. What's intriguing however, is how his abilities as a director grew from the incredible collaborations he had with the artist, Marc Caro.

Their first outing together is the brilliant Delicatessen, which was a triumph in debut film making. But you really see the explosive cocktail created when mixing their creative juices when you sit down and watch The City Of The Lost Children for the first time.

Their pairing brings to the screen some of the most original design work ever committed to film and it's clear to see that this particular result of their partnership is the biggest influence on Jeunet's solo career. Some have compared it to films such as Twelve Monkeys and Dark City for its uneasy but caricature environment, forgetting that Jeunet and Caro's film was produced shortly before or simultaneously. It's one of the most unique looking pictures of the last few decades, and this will ensure that visually it will always stand the test of time.

In part, this is also down to the incredible of eye of Darius Khondji, who you'll know for his breathtaking cinematography on pictures such as Se7en and Panic Room, displaying an incredible talent in portraying the more intense claustrophobic visuals of the thriller genre. He also brings some inventive camera techniques, from his jaunty close-ups to the cyclops point-of-vision shots, swooping and cybernetic, bringing a cold air to the characters. Here, his addition to the creative pot of the two helmers brings a further cinematic vigour, which is hugely influential to the film's overwhelming spirit and thrives in some of the more memorable set pieces.

Some of these stand-out moments are unmatched, as will be the case with other spells of Jeunet's future work. One particular example is, perhaps, the most memorable scene - the chain reaction. Through a cleverly crafted collection of cause-and-effect instances, the tiniest action leads to a surprising set of events and ending in an unusual climax. It's an outstandingly inventive scene, fondly championed by many fans of the movie and is still the seminal point of the whole piece in my opinion. 

The near-victim to this karma-like moment is the conjoined twins, The Octopus - a mysterious character working on behalf of Krank, and one of the story's most intriguing personas, not just from the deliciously evil performance from Geneviève Brunet and Odile Mallet, but from how she is portrayed in the tale. Besides her nightmarish presence, she has a film-noir quality and an air of sophistication despite her form. This method of painting characters in a spectrum of personality and drive is a common practice from Jeunet and Caro in their first two films, and something that Jeunet continues to this day.

Other characters are powerful too. Krank is handled with a slant on both an innocent perspective and a strive to control by Daniel Emilfork, showing his experience in French cinema by displaying a creature so despicable but still allowing you to feel pity through his blind quest, mirrored to the same passion and blinkered craving only ever truly displayed by the mind of a child.

If the young cast themselves don't seem quite strong enough amidst the peculiar individuals of this tale, it isn't so much of an issue, as they are integral in supporting the two leads. Judith Vittet seamlessly walks along the thin line of both the wise and the youth as Miette, and is particularly great when playing off the brilliance of Ron Perlmann. Our main lead is in a strange role as One; yes he has the physical presence but the lack of dialogue for his part is an unusual choice. However, this doesn't prevent him for holding a strong presence at the centre of the film as both Miette's protector and friend.

But there is no doubt who the strongest character is in this picture. As the clones, Dominique Pinon is about as "Dominique Pinon" as you have ever seen him. As a regular in Jeunet's movies, as is Perlmann, you're always guaranteed a stellar performance when he is around, and this tale is no exception. Comical, brash, confused, hilarious, moody, and so on, he sets to an incredible colourful realisation of a group of both sparkling and idiotic buffoons which such panache no-one could ever surpass such talent. His involvement in Jeunet's earlier pieces have ensured a regular appearance in every movie by Jean-Pierre, which is a blessing to modern cinema.

Which such an avant-garde approach, there's no disputing Caro and Jeunet's genius in The City Of Lost Children. But what really wins over here is a beautiful and brave combination of design, camera work, character and charm rarely surpassed by any other film makers today. If you enjoy this piece, I strongly urge you to partake in Jeunet's back catalogue, if not to enjoy his skewed view on the world, or to expand your cinematic tastes, but to see his favourite creative partner, Dominique Pinon at work.

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here.

December Overview

2012...the year of Britain. 2013?...

The year of filmbore perhaps?. As promised, the content on this site will be growing over this year, and I'm still open to suggestions from you all on what you'd like to see.

The three main points will be:

1. More top tens will be on their way. A lot of data has been sifted through and some bizarre ideas have been sent. However, if you have any crazy top ten ideas please post them to the filmbore facebook page for all to see here or email topten@filmbore.co.uk

2. Pick a country will arrive at some point this year. Selections have been made, but there needs to be more investigation on the functionality to use to display the choices. This will be interactive however, where I will welcome arguments and debates on the selections made...and if your argument is sound enough and I'm convinced I will make changes!

3. More news articles will be posted to the site. I'll ensure throughout this year that I start to copy links and post small articles to recent news on indie films, British movies and world cinema. Also, I'll welcome any news that you may here too. Just email anything that you find to news@filmbore.co.uk

...not forgetting any gripes that you want me to discuss on the Whingebox, and the regular weekly picks that you've all enjoyed so far.

Back to the final month of 2012...here's a summary:

Pick of the week - recap

Newcomer Thomas Schubert leads the moving German drama Breathing, as directed by Karl Markovics. Schubert plays Roman, a troublesome, volatile young men serving a sentence in a juvenile detention centre for a crime he committed at a much younger age. But can a new position in an undertakers firm bring him the redemption he's searching for?

Trust me on this...Wild Bill isn't your bread-and-butter Brit Gangster film! Dexter Fletcher has taken a turn in the director's chair to piece together a cracking story, a wonderful cast and a heartfelt movie that's difficult not to love. Charlie Creed-Miles finally gets the lead he has always deserved, and a new star is found with Will Poulter, who proves his worth as a young actor.

Joseph Gordon-Levitt is a household name these days, but not too long after he was just a twinkle in Third Rock..'s eye he took a turn in the excellently individual Brick. An acronym of the classic film-noir genre, a high school detective movie may not be your usual poison, but the humour and character depth explored in our lead turn Brick into an absolute one-off and soon-to-be cult picture.

Hector bites off more then he can chew when he accidentally gets into a time machine and sees his own recent past. His involvement starts a ripple of events that he may not be able to avoid. Timecrimes is one of the smartest and cleanest time travel stories you will ever see. Polar opposite to the incredibly complex Primer (see my review here) it's as equally unique.

...and keeping with Christmas spirit!

A new top ten was posted on Christmas Eve, listing my choices of the weirdest, oddest, most left field yuletide movies in existence. It was tough to choose (you'll see some great films in my Just Missed section at the bottom) but I think it's the most balanced top ten I could have put together.

But, that's not good enough. Argue this list! Please do! I want to hear your views in the comments section on the post, or start a thread on my filmbore facebook page. This list is put together with my own opinions and I want to hear yours.

So, come and view the Top Ten Wonky Christmas Movies here.

And don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here.

filmbore pick of the week - The Secret In Their Eyes

The Secret In Their Eyes (El Secreto de Sus Ojos)

Director: Juan José Campanella
Screenplay: Eduardo Sacher, Juan José Campanella
Starring: Ricardo Darin, Soledad Villamil, Pablo Rago, Javier Godino
Year: 2009
Language: Spanish
UK rental release: January 2011

IMDb
LoveFilm
Rotten Tomatoes

 

It's 2010, and Alec Baldwin and Steve Martin team up to comically insult the big names in cinema stardom on the stage of Hollywood's Kodak Theatre for the 82nd Academy Awards. Just like our titular hosts, it's a night of two-horse races, including the two front runners for Best Foreign Film: the favourite, Michael Haneke's moody grey scaled The White Ribbon, which had already taken the Palme d'Or and the Golden Globe gong, and the underdog, Jacques Audiard's French, feisty prison tale A Prophet. It was difficult to call between the two of them.

"And the winner is...The Secret In Their Eyes"....er, what?

So out of the blue came this Argentinian thriller that no-one thought would stand a chance of taking the prize, and shortly after the ceremony I had to follow this up and find out what the fuss was all about...and I'm glad I did.

Retired courts clerk Benjamin Esposito (Ricardo Darin, Nine Queens, Son Of The Bride) has decided to turn his admin abilities towards writing a novel. Instead of crafting an original tale, he decides to use influence from his own experience as a civil servant, selecting an unsolved case of a young woman was brutally murdered and raped.

However, he's suffering from severe writing block; maybe from his lack of experience as an author, or from the memories drudged up from such a severe incident. He needs advise and inspiration and decides to pay a visit to a colleague from the courts, his old boss, Irene Hastings (Soledad Villamil, Red Bear, Life According To Muriel). Re-uniting with her, there is still good chemistry between them, and she's ready to pass some friendly advice his way. Her initial reaction to his decision to unravel the Morales case seems to worry her, but she's happy to lend a hand, even exhuming Benjamin's old typewriter for some inspiration.

As Benjamin starts to scribe his story, he is forced to revisit the events of the case, reminiscing from how it all transpired back in 1974. Not long into his term as a clerk to Irene, he is assigned to the incident, investigating what happened to the murdered victim Liliana Coloto (Carla Quevedo) and is introduced to the her widowed husband, Ricardo Morales (Pablo Rago), assuring him that the killer will be put away for life. But as the case was never resolved, this promise was never upheld, which burns away at Benjamin, pushing him to delve further for his novel in the present.

It's through digging further into the incident that Benjamin notices the presence of a very suspicious individual, Isidoro Gómez (Javier Godino), whom is present in old photographs of Liliana. There's a secret in her eyes, as she appears to view him with contempt, triggering a new conundrum for Benjamin. Not only does this pose an interesting angle for his novel, but his haunting need to find closure for Ricardo Morales leads him to enquire into the case being re-opened. Irene is reluctant and may take some convincing, while Benjamin's meddling reveals further mystery in the guise of corrupt politics, unquenched love, devastated lives and with the suspect Isidoro himself, all leading to a disturbing finale that will push your moral grounding to it's breaking point.

Let me first point out that this is a brave thriller, in that it's draws on ambition and desire in both it's detective-like intrigue and through a paired love story between our leads. The events that the whole film hinges on are harrowing, and the material is handled with extreme care when considering such a delicate subject. It's this gentle balance between the tale's threads that elevates it above most standard thrillers.

To add to the tension, the 70's segments of the film are set just a few years before Argentina's "Dirty War", where 10's of thousands of victims "disappeared" over a period of about 7 years through political disputes and conspiratorial cover ups. Leading up to this horrific period of Argentina's history, many people would partake in criminal activity of severe levels, and would never be convicted, which helps to explain some of the intricate elements to this tale.

It jumps between it's 2000 and 1970's settings seamlessly, allowing you to keep up with the story without confusion. Yet, when in the 70's setting, it can sometimes be a little unclear whether we are witness to Benjamin's direct memories, a novelisation of the events through his writing or even a blend of the two; the realms of both fact and fiction blurring together in either understanding the truth or discovering his creative flare. Unusually though, where such methods can be deemed baffling in some pictures, in this tale such fashion lends to the drama's allure, lacing it with perplexity and charm.

Such appeal is given a helping hand by our two leads. Both Ricardo Darin and Soledad Villamil are stunning in this picture, with the camaraderie between them both natural and electric. They portray such assured performances throughout, characterising with ease two colleagues who have seemed familiar with each longer than time itself. They both effortlessly command great screen presence on their own, but it's when they are in each other's company that they are at their most enchanting.

Their scene stealing performances don't deter from other strong elements, such as some memorable scenes including a poignant confrontation in a lift and a technically genius one-shot (albeit effects assisted) in a football stadium nearer to the film's finale. All of these tableaus are neatly sewn together with some excellent camera work, comprising of a beautiful combination of soft focus close-ups and panning wide shots, allowing for a blend of moods to thrive in a story that has just as many twists and turns.

I get asked many times for an interesting world cinema film to watch, and with my cinematic appetite to watch so many movies it's difficult to highlight just a few. Nevertheless, there are always one or two that rise to the surface, and The Secret In Their Eyes has been just that on numerous occasions. This is both a formidable and classy thriller/drama/romance that's beguiling on so many levels and captivates you from it's first enigma to it's brutal climax. And yes...it so clearly deserved it's Oscar!

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here.