filmbore pick of the week - Delicatessen

Delicatessen

Director: Jean-Pierre Jeunet, Marc Caro
Screenplay: Gilles Adrien, Jean-Pierre Jeunet, Marc Caro
Starring: Dominique Pinon, Marie-Laure Dougnac, Jean-Claude Dreyfus
Year: 1991
Language: French
UK rental release: April 2002

IMDb
LoveFilm
Rotten Tomatoes

Okay, I've been holding off on this one for a long time. I wasn't sure when a good time to deliver my verdict on this piece would be but I couldn't wait any longer. I've already tapped into the exquisite brilliance of Jeunet and Caro in my review of The City Of Lost Children, yet it's time to look at one of the most impressive debut films you will ever see, Delicatessen.

The world has become a desolate place. We're in France, post-Armageddon, where the hopeful currency is cereal crops. And people are starving. Some are resorting to eating anything, including their shoes and even money!

As we enter the butcher's lair, we're greeted with the chilling scrapes of cleaver being sharpened ceremoniously. In in this realm that Monsieur Clapet (Jean-Claude Dreyfus, The Lady And The Duke, The City Of Lost Children) is real artist. As he crafts his blades to a hair's breadth, there's a commotion upstairs.

A resident above in the tenement building is binding himself in paper and tape, hoping to be taken for garbage...it's his only means of escape! This is not to be however as he's caught in his failed camouflage, screaming at the gleaming blade that swoops towards his doomed scalp.

What mysterious wares does Clapet purvey at the delicatessen?

Shortly after, Louison (Dominique Pinon, Amelie, The City Of Lost Children, Micmacs) arrives outside the delicatessen, begrudgingly pushing a broken-down taxi cab that he was meant to be his means of transport. He's arrive at the apartment block to take on the job of superintendent after seeing a newspaper ad. His life, as have countless others, has changed dramatically since the global event, and his days as a circus clown are over. Yet, he still wears his clown shoes. But then again, good shoes are hard to come by.

Soon after he begins his tern as handy-man, he meets the butcher's Julie (Marie-Laure Dougnac, Grossesse Nerveuse, Mo). One of the many neighbours, she's entranced by his entertaining ways but is too shy to say Hi. In time, the nervousness subsides and the pair find a commonality in music: she plays the cello, and he plays the musical saw

Nothing is as it seems though. Julie worries for Louison's life and seeks the assistance for a local rebel fighting force from the sewers, the Troglos. This could be a feeble attempt at heroism however, for Clapet is no ordinary butcher. He specialises in obtaining meat of a unique kind; one for desperate palate. Louison better keep his wits about him.

So here it is - the first feature length equivalent of the powerful partnership discovered between the meeting of Jean-Piere Jeunet and his artistic brethren, Marc Caro. There is a magical genius to be found in this affiliation.

What's important to realise too is that this is the film that also solidified the wonderful cinematic union between Jean-Pierre Jeunet and Dominique Pinon, a brotherhood in movies that still last to this very day. There's an underlying chemistry generated from their collaboration that will mark cinema for decades to come. But let's not rest on just one performer...

Of course, Pinon is sensational as always, gently handling his character of Louison with natural charm and a touch of whimsy and optimism. Yet, there's acting brilliance evident all over this piece, thanks to some well written characters, incredibly executed by a mixed cast, providing a plethora of flavours to add extra filmic tastes for you to relish. Yet, it's Jean-Claude Dreyfus who really elevates the piece. He's magnificent as the butcher Clapet. Twisted, determined and troubled, he's a fine central villain and apt for this unusual world we are presented with.

Although set in almost apocalyptic future you mostly accept this fact as the norm, forgetting the setting and taking in the cultural subtleties that a filmmaker like Jeunet is so deftly capable of.

The colour scheme is rich, deep and inviting...like a dirty gold, or a glistening copper. This template only truly breaks when your screen is painted with the rusted greens and aquas of the basement apartment where resides the Frog Man (Howard Vernon), who constantly floods his lair to attract toads and snails for companionship and sustenance to the sounds of blaring tunes on his battered record player.

I forgot how beautiful the music is in this film too, thanks to some original scoring by Carlo D'Alessio. Not only does it drive the companionship of our two leads but the melodies gracing your surround sound coat the picture in an incandescent sheen.

This is helped by some delicious lens work by another colleague of Jeunet and Caro's Darius Khondji. As Director Of Photography , his work really shines through in this piece. His surrealist approach, unusual angles and brave pans reveal his incredible craftsmanship.

This skill is noticeable in many forms but realised so beautifully while during a staple of Jeunet; the set pieces that he is renowned for. These involve a chain reaction or succession of crazy contraptions, becoming a spine for the oncoming action ahead. Thankfully, in this, his first major feature, these vignettes are just as comical and inventive. They come in the form of the intrepid attempts at elaborate suicides engineered by one of the many excellent support characters, Aurore Interligator (Silvie Laguna). These moments encapsulate each factor that makes Jeunet a great auteur of cinema: comedy, sweeping camera work, intriguing habitats, and array of colourful individuals and a brief but rapidly ascending farce with hilarious circumstances.

Another moment that illustrates Jeunet, Caro and Khondji's excellence is the "bed rhythm" scene (you'll know what I mean when you see it!). This is typical Jeunet - humorous and abstract, while leaping from room to room in this insular world. These methods actually give context and clarity to the surroundings and its many characters. Even the bed springs appear to dance, carrying a persona of their own.

Nevertheless, as light and rambunctious as these moments are there are still chills to be had. For example, Julie's nightmare sequence, brought on by her worry for Louison, is very sinister. There is a underlying tone of dread held throughout, but it doesn't sour the overall aroma.

It's fair to say, taking in this collection of visual and thematic treats, that there really is no other post-apocalyptic film like this. Instead of falling into the usual trap of creating some action thriller, with all parties vying to survive (well..there is a bit of this), it opts to paint a more honest and humane picture, allowing the domestic purity to bleed through its canvas despite the calamitous environment. Relationships. Jokes. Bickering. Biscuits! Even though paired with humanity's uncontrollable cravings for unusual meat, Delicatessen highlights how you might imagine the sweeter realms of a war-drenched world would behave.

Really, in essence, it's a love story, and a quirky one at that. Picturesque, moving, artistic, hilarious...a fine quality Jeunet!

If you want to watch something with a little visual flair you can rarely go wrong with a Jeunet film, especially during the inventive, if sadly brief, cinematic duet he had with Caro. Every shot, pan, zoom and edit is delicately executed to form a giddying presentation. Astounding for a debut picture!

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 Host

The Host (Gwoemul)

Director: Bong Joon-Ho

Screenplay: Bong Joon-Ho, Ha Won-Jun, Baek Chul-Hyun

Starring: Song Kang-Ho, Ko Ah-Sung, Bae Doo-Na, Byeon Hie-Bong 

Year: 2006

Language: Korean, English

UK rental release: March 2007

IMDb

LoveFilm

Rotten Tomatoes

It's been a while since I've talked about a film from my favourite country in world cinema, South Korea. The variety of output from this inventive nation may not suit everyone's palette, so lets have a look at a piece that can be enjoyed by all. Something for a Saturday night, something to make you laugh, make you jump, make you feel like you've watched something unique. And with the recent release of Pacific Rim, I thought this week, we could look at a decent way to attack the creature-feature, with The Host.

Gang-Du (Song Kang-Ho, Memories Of Murder, Thirst) is a complacent soul. He has to work at a snack bar on Seoul's Han River owned by his father, Hie-Bong (Byeon Hie-Bong, Lovely Rivals), with a slight reluctance. However, keeping a steady job in the family business keeps things afloat so that he can look after his daughter.

Hyun-Seo (Ko Ah-Sung, A Brand New Life, Snowpiercer) is upset with him, however. Because he's been sleeping on the job, he's missed yet another parent-teacher meeting at her school. Her frustration is fleeting though as in moments her auntie, Gang-Du's sister, is about to take part in a national Archery championship. Nam-Joo (Bae Doo-Na, Cloud Atlas, Sympathy For Mr. Vengeance) is hesitant and slow, but is skilled with a bow and is arrowhead's breadth away from winning the semi-final. 

There's no time to watch the competition though, as there are customers waiting. Gang-Du attempts to deliver some squid to some hungry visitors to the park, when a commotion starts. Something peculiar is hanging from the river's bridge; something vast and unnerving. In a flash, it unravels itself, dropping into the water. A moment goes by, while Gang-Du and other bystanders throw food and drink into the water to see if it'll take the bait. But then the interest dies down. This is oh so brief, however, as just then the creature launches out of the river, onto the bank and begins its hunt.

Slipping and rolling through it's momentous chase, ravenous for meat, the locals scream and dash to reach for safety from the blustering beast. Chaos ensues, as spurious attempts to fend it off fail. Gang-Du is fleeing with the rest of the rabble, attempting to help some of the victims and retaliate with nearby objects. Yet, none of this can slow down the monster.

Hyun-Seo finally decides to step out from the snack bar, for some moments unaware of the calamity that surrounds her. In his haste, Gang-Du grabs her hand to lead her away from the behemoth in-chase. But with a slip and a bit of confusion, he loses his daughter, only to watch in terror as she's whisked away by this cruel visitor.

Distraught from the loss, but believing she may still be alive, Gang-Du cannot give up hope. Joined by his despondent brother Nam-il (Park Hae-Il, War Of The Arrows), along with Hie-Bong and Nam-Joo with bow and arrow in hand, he aims to find Hyun-Seo and stop the beast before its rampage can continue. 

Beyond the intro, with its blatant exposition, the following opening scene to The Host in particular is an impressive vignette. It encapsulates everything that this film delivers in eight minutes, summarising the array of flavours that will be served to you over the course of the movie.

This key scene also demonstrates some incredible filming. The timing before the big kick-off, with its light-hearted patience, is perfectly engineered. We're blessed with a wonderful tracking shot of our lead as he attempts to flee the predator amongst the foray, leading into an intense and enjoyable action-fest. Intriguingly, the cocktail of comedy and thrills in this opening gambit still has time for some seriousness and a touch of the dark, especially in its closing moments of the capture of Hyun-Seo. The screams subside, and silence takes over, allowing the slow-mo visuals to lay the spine of the overall plot.

There are some brilliant set pieces to be found elsewhere too. There are no restrictions in the delivery of some of the battle and chase scenes. Yet, the upstanding genre of this categorical concoction is comedy. 

The humour is well balanced, yet, not so much as in the amount of laughs opposed to the moments of terror, but with an equilibrium set between eastern and western comedy. A great example of this is when, just after the astounding first encounter with the creature, the family gather in the recovery centre and start to grieve over the recent loss of Hyun-Seo. Delicately shot, it begins as a touchingly sad moment at Nam-Joo's arrival, evolving into anguish as truth sets in, then finally, and surprisingly, over-exposing the emotions into comedy, as they all wrestle on the floor in an exaggerated fashion. This is a hard mix to get right, but incredibly, and thankfully, Bong Joon-Ho has managed it superbly.

There are still some obvious laugh out loud moments throughout too, that pierce the tension with precision, of which some of the credit must go to our actors. The cast are fantastic. A great collection of South Korean stars, they attack the script with gusto and really get into their parts. This is a great achievement, especially when considering the different genres at play here. They really hit the mark on the more emotional, touching scenes and get really into the rambunctiousness of the comical moments.

Stand out, of course, is our lead, Song Kang-Ho. A real star in South Korea, he was a clear choice as our reluctant hero, Gang-Du. Driven by his need to find his daughter when being such a poor father in the first place, you ride this journey with him: through his heartbreak and despair; amidst his drive to overcome this tragedy. He's an enigmatic performer in any film he is in, but I find him the most joyous in The Host, due to the spectrum of his portrayal as Gang-Du and his indomitable spirit as a strong character actor.

There is one final character that cannot be forgotten - the leviathan of the Han river. Our behemoth. Our beast. The special effects are decent and blend nicely into the movie in parts but aren't necessarily there to impress. Sometimes realistic for a genuine feel, at other times a bit more freeing with less attention to the fine details of its compositing, this allows for character traits in our rampant beast to shine through. This liberating method still leaves room to show off some interesting textures when close up, while allowing the animation of its movement to emphasis its persona.

It's interesting how its motion alternates too. Naturally, in water it swims with absolute elegance. On land, it's clumsier than a puppy clambering across a polished laminated floor. Then, it displays incredible acrobatic skill in using its tail to traverse and swing from buildings and ceilings in near silence.

The monster itself is a fresh design too. An aquatic fiend, with relentless drive but an unusual gait, it proves that you don't have to copy the many other critters that have littered creature-features over the decades, all the way back to the original Japanese Kaiju movies. With a little original thought, you can birth a being that stands on it's own (or gallops with a waddle as ours does!).

Without a decent demon, The Host would still be a great film. Yet, the addition of the craftsmanship in its conception, and the admirable treatment of its personality elevate this picture from "righteous cool" to "well deserved awesome". Other filmmakers must take note...if you're making a monster movie, then make a monster that works first!

Most people can enjoy creature feature, making this an approachable piece for many from the off. Yet, there is more at play here. Not only does its blend of humour from both a western and an eastern mentality to make it a refreshing laugh-fest, and the fact that it is a world cinema piece brings it more kudos, but it is fascinating to see how great it sits within its genre. Most monster movies just aren't as good as The Host. They're nowhere near. It takes the format, flips it, spices it up, throws it around the room a bit, sticks it on a whoopee cushion and slaps you in the face for good measure. Such a wonderful plethora of cinematic aromas is hard to ignore, and even harder to not enjoy. Highly entertaining!

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 wants you! Bringing back January 2013

filmbore wants you! January 2013

Still busy. Sorry. I'll have a heavily belated overview of July to post for you shortly too.

Anyhow, let's continue skipping through each month of filmbore's first year of its life. In these posts we're reminding ourselves of the first 52 reviews the site published from June 2012 to May 2013, and each of these pick-of-the-week articles have the chance to be in a special Top 20, listing the best of the bunch...  

Okay, let's bring back January 2013!

2013 came in with a bang, as any new year does. And filmbore wanted in on this action, with a collection of films clearly making January one of the best gathering of pick-of-the-weeks there's ever been. Not only were you treated to four movies of delectable quality but you also got honoured with another Top Ten, this time focusing on the confusing, yet surprisingly fascinating, world of Re-imaginings.

Coming back to the films then, which of this stellar quartet do you think deserves a place in the grandieur list of filmbore's inaugral year? Did the Oscar winning Argentinian thriller The Secret In Their Eyes surprise you? Were you in awe of the unusual world of Jeunet's The City Of Lost Children? Did the wonderful German comedy Goodbye Lenin! tickle your fancy? Or was it the combo of Tom Hardy and Nicolas Winding Refn in the explosive biopic Bronson that brought out the filmic beast in you?

Should one, some or all of these films be considered in my ultimate Top 20 of the first year of filmbore? You must choose...so comment below!

filmbore pick of the week - Lebanon

Lebanon

Director: Samuel Maoz

Screenplay: Samuel Maoz

Starring: Yoav Donat, Oshri Cohen, Itay Tiran, Michael Moshonov, Zohar Shtrauss

Year: 2009

Languages: Hebrew, Arabic

UK rental release: August 2010

IMDb

LoveFilm

Rotten Tomatoes

We're entering the isolated and claustrophobic world of tank warfare this week, with the hidden gem and sleeper hit from Israel, Lebanon.

We start on 6th June 1982: day one of The Lebanon War. Commander Assi (Itay Tiran, Forgiveness, The Debt), an astute and direct commander enters the tank that will be his metal chariot for the coming days ahead. He greets the new member to his team, Shmulik (newcomer Yoav Donat) who'll be his gunner for the coming battles. Needing to hold his nerve on the trigger will be difficult for this confused and edgy individual, especially when the rest of the squad are already acquainted with each other.

The other two soldiers have their work cut out for them too. Yigal (Michael Moshonov, Tehilim, Policeman), considerate yet aloof, has the task of driving the tank through the Lebanon streets, but it's Hertzel (Oshri Cohen, Agora, Bonjour Monsieur Shlomi) who brings an unnecessary extra edge. Petulant and troublesome, he has to load the shells into the gun mechanism and handle other physical tasks. Yet, even though his job involves brawn, his mind is alert and active, questioning the most minor of orders from his commanders in order to comprehend what's in store.

As soon as their advance begins they're none the wiser on their mission...so they wait. Suddenly they catch a soldier in their cross-hairs. Luckily, he's a friendly, but only in the military sense. Gamil (Zohar Shtrauss, Eyes Wide Open, The Assassin Next Door) is a tense man. Cold, calculated, he's clearly stained by a life in war. 

Entering the tank, he begins relaying orders to the men. With little information, and no questions answered, Gamil gives them their tasks and and leaves them in an air of mystery. First, they must head to a nearby town, which has just been cleared by an air strike, to mop up any remaining enemies on site. Moving on from there, they will receive more orders for their campaign, covering a span of three weeks.

Within an hour, tension is already building amongst our soldiers, when an argument begins over who's responsible for guarding the others while they sleep. Hertzel is opposing the order from Assi to stay up on watch, and the seeds of doubt and anxiety start to take hold. After only a few brief moments of rest, the next morning arrives suddenly and the brewing discomfort blossoms in an early failure in taking down a charging BMW. This outcome has already but Shmulik at an unrest.

As they continue on their mission, somehow they go off track and end up in Serbian run territory. Until they receive orders of how they can escape this mess, they will have to last it out. While they wait, paranoia starts to infest the men. Their judgement of their mission falls apart and trust starts to break down amongst them. Why are they here? And does Gamil have other motives?

As the opening title fills our screen, we're greeted with an unusual image. This opening shot of sunflowers, wilting gently and lingering for a moment, is a beautiful intro. It's the only true moment outside of the tank, and the serenity of the meadow is a real juxtaposition to the film you are about to engulf yourself in; of the grimy and gruesome realm of machinery.

The horror and confusion of war is felt within the first fifteen minutes, with two contrasting encounters on one small stretch of road. And, as the story moves forward, we get to really know these four tankmen of their own apocalypse, switching between each crew member to delve into their psyches and learning how they cope with their predicament. This relatively unknown cast are thrilling and incredibly well kept in such a small stage to perform.

But truthfully, it's really all about Shmulik, played magnetically by Yoav Donat. He is our eyes, not only as gunman and lens to the world outside this metal prison but as a newcomer; yet untainted by war, gradually breaking under the terror and destruction. We feel his pain as his morals crumble and his ability to hold his nerve is questioned.

It's the ethics that Shmulik and his companions brood over that build real heart in this film. It's quite difficult to ignore the brave anti-war message running through this whole movie, which is a bold approach to such source material and lends itself to influence some interesting visuals.

As this is set entirely in a tank, there's some experimental, and clearly very inventive, shooting methods at play here. Taking in some of the artistic geometry of the interior of their armoured vehicle, it enhances the beauty of design and the engineering world. Hard, but minimal, light drapes our cast and their machinery, creating a tapestry of flesh & steel in an almost effervescent microcosm.  

The only views you get outside of the tank are through the machine's scopes, which are incredibly atmospheric. This point-of-view aspect keeps the momentum contained, internalising the action through the means of this simple framing mechanism. In order to capture enough of the surroundings, the telescopic view scans around erratically, which is a unique perspective for a movie and generates terrific realism. Zooming in and out adds to this peculiar visual environment and enhances the excitement. 

Plus, the sound is ecstatic. The inner workings of the tank fill the surround sound; an alien audio to the residents of this moving iron cell. This enclosure-style of film making is a seriously courageous move but it totally works. And, through this interpretation of what's beyond the turret the squad's world is reduced into a bubble.

As confined as the set is, the pace is incredibly well measured, ramping up and down in equal quantities and generating a real spectrum of motion through the plot. Your attention is held throughout, with a blend of action and drama perpetuated in this minuscule lair of calamity and despair. This concoction of impressive momentum, restricted camera work, arresting sounds, and emotive performances delivers a surprisingly satisfying political thriller. And while director and writer Samuel Moaz juggles these morsels of filmic delight, he still succeeds in building to an intense finale, culminating in a frenzy of panic and fear.

 

Lebanon is a film that should hold acclaim for it's diligence and confidence in portraying a tale with what appears to be limited stimulus, while instead demonstrating an insatiable ability to unravel a story's potential through some seriously alternative means. It proves that, sometimes, less is more and then some! 


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 wants you! Digging up December 2012

filmbore wants you! December 2012

Well, I've been pretty busy as of late due to some personal occurrences but, as promised, I'm back to finish off the round ups to each month of filmbore's first year on the web. In each of these posts we're looking at the first 52 reviews of the of the site published from June 2012 to May 2013, and each of these pick-of-the-week items is up for the chance to be a part of a special Top 20, listing the best of the bunch...

So, without further ado, let's dig up December 2012! 

With some little delays over a little unknown holiday known as Christmas, it was a squeeze to get the articles in to the last month of 2012. However, a promise was kept and a new Top 10 for the holiday season was posted, looking over the wonkiest Christmas movies out there, with the intention of keeping up the pace for more lists in the coming months.

On the review side of things, there was a real mixed bag in December. We had the slow- burning and incredibly moving Austrian drama Breathing/Atmen. This was followed by a lighter, but surprisingly touching Brit-flick from Dexter Fletcher, Wild Bill. Next, film-noir turned high school comedy Brick, with plenty of tricks up it's sleeve. Then, finishing off with the perfectly crafted Spanish psychological drama Timecrimes.

Should one, some or all of these films be considered in my ultimate Top 20 of the first year of filmbore? Comment below...

filmbore pick of the week - 7 Days

7 Days

Director: Daniel Grou
Screenplay: Patrick Senécal
Starring: Claude Legault, Rémy Girard, Martin Dubreuil, Fanny Mallette
Year: 2010
Language: French
UK rental release: August 2010

IMDb
LoveFilm
Rotten Tomatoes

Something a little darker this week, with French-Canadian thriller 7 Days: a tale of revenge, despair, heartbreak and a whole week of torture!

Slobbing around in his messy, boarded up house is Detective Sergeant Hervé Mercure (Rémy Girard, Incendies, The Barbarian Invasions). A lonely man, steeped with depression, he sits in silence as he watches a curious video of CCTV footage, of where we see an innocent bystander being shot by an armed robber. There is a clear connection between him and the victim.

We switch to a hospital. Operating on a patient's back, using his expertise in key hole surgery is Doctor Bruno Hamel (Claude Legault, Sticky Fingers, 10 1/2). A loving father, husband and dedicated surgeon, he's gifted with a wonderful family. Life is, clearly, very good...

Yet, on this morning everything will change. His eight year old daughter, Jasmine (newcomer Rose-Marie Coallier) leaves to make her way to school but never comes home. She didn't turn up at school either, so a police search commences.

Jasmine's wounded, still body is found in a nearby field, raped and murdered. Unable to cope with such a barbaric event, in the wake of it all the relationship between the parents becomes tenuous. Sylvie (Fanny Mallette, Continental - a film without guns), mother of this broken family won't open up to Bruno, leaving him to grow notions of his own.

Mercure has some news for them, however. They have found the murderer, with some strong evidence backing up their claim; it's pretty much a closed case. The killer is Anthony Lemaire (Martin Dubreuil, L'affaire Dumont, La Run), previous charged with sexual assault in another town, yet this time round the evidence was there to stick and convict. The likely sentence for his crimes doesn't quite satisfy though. Bruno's head is swimming with dark thoughts, craving further justice for the evil dealt to his daughter by this disgusting individual.

He starts to prepare for his revenge. His full focus is on causing the killer pain in order to, in his eyes, do right by Jasmine. Sylvie thinks he's going back to the hospital while he sets up a lair to fulfill his needs. Enrolling locals into his plan, he kidnaps Lemaire and the games begin. But Mercure wants to find Bruno before he kills a killer. 

There's an odd and unexpected art house feel to 7 Days. This vibe is delivered through some creative filming. 

With uncomfortable close-ups to add tension, slow zooms framed with local surroundings, lots of patient, locked-off shots to garner further effect and smooth pans, gradually coming into focus it's instantly a treat on the eyes. There's a moody template maintained throughout too. A cool-blue colour scheme, while encapsulating mild browns and office greys, coats the whole film with a unified feel.

Speaking of feelings, there's no ignoring how heartbreaking this tale is. With Patrick Senécal, adapting his own novel for this intriguing movie, it's quite brutal and honest. If the gore the film is dressed in later on doesn't shock you, I can guarantee that the reveal of Jasmine corpse will.

It's at this point that I must deliver a warning: this is not for the faint of heart! Don't let this put you off however, as this isn't you run-of-the-mill shock-fest, but a deeply emotional and tastefully shot film, especially when considering the nature of the material and the forthrightness of the images.

Some of this directness shapes itself through the presence of gore, of which this film holds no punches. It's heavy and extremely realistic. The violence is visible for all to see. The effects here are a huge achievement, with very authentic make-up. You can't see the handy work at all, and you forget that you are witnessing the combination of prosthetics, cover up and dyed fluids. Take note, however, that the bloodiness here isn't necessary flooding the screen.

As blunt as it is, it is also discreet in it's delivery, only showing its gore-soaked face at brief moments. In particular, a scene where Bruno operates on Anthony, along with its gruesomeness, is impressively genuine in look and texture. This stripped down approach only benefits the techniques used even further...there's no smoke screen, with each bloodied instant as naked as our victim. 

The torture methods used are increasingly more inventive as the days move forward. As they become more nefarious, proportionately so does Bruno's ego. He has become a shell of a man...a shadow of his former self. His transformation from gentleman to beast is a pure, if disturbing sight to behold, even in it's reserved conveyance. This is thanks to a wonderful portrayal by Claude Legault, who is very contained. He is cold through most of the movie; steely in his presence. The other cast members are strong also, especially Martin Dubreuil, as Anthony Lemaire, who is the polar opposite of Legault's Bruno: through fear and despair, he is electric and explosive, breaking to every act dealt to him.

Through these reprehensible feats undertaken by our lead, this film delves deep into the psyche of a grieving parent, revealing some of the ways you may react to such an atrocity. In this case, the prominent response being a vengeful, if astonishingly planned out event; meticulous in every detail. Bruno is unparallelled in his drive and is determined against all odds to punish the man who shamefully destroyed both his wife and his own life, as well as extinguishing their daughter's.

Guilt is another driving force in this picture, realised in different ways by both parents. They feel responsible for what happened to Jasmine, as any mother and father naturally would in such circumstances, but what's addressed here is the manner in which they respond to their self-generated remorse. They also view their respective partner as aiming blame at themselves for that horrific event, but interestingly this mutual condemnation of their own souls manifests itself in contrasting externalisations and distances them from each other even further.

Yet, throughout these core themes the burning question is: What lengths you are willing to go for revenge? With 7 Days, you question what is right - the justice system or your own human instinct to dish out justice in your own brutal way. You cannot condone the cruelty that starts to thrive within Bruno's veins, no matter how despicable and putrid an individual like Lemaire is, yet there are still moments between the depraved actions of this grieving father to see the crumbling of his spirit as he comes to term with the loss of his daughter and the fury that engulfs him. 

He cannot quench his thirst for avenging his daughter and he gradually becomes consumed by hatred in his quest to cope with the atrocious way in which his child was taken from him, leading to a poetic ending to a strangely beautiful and overall powerful film

From the trailer and DVD cover, 7 Days is painted as a horror but it's much more than that. It feels more like a psychological drama, with humble notes of thrillers garnished over it's platter of fusioned genres. With sensational, if subtle effects, delicious performances and deep-rooted emotions drawn out within it's subject matter, it's clear that it's not your average slasher-thriller. 


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 - Le Donk & Scor-zay-zee

Le Donk & Scor-zay-zee

Director: Shane Meadows
Screenplay: Shane Meadows
Starring: Paddy Considine, Dean Palinczk (Scor-zay-zee), Olivia Colman, Shane Meadows
Year: 2009
Language: English
UK rental release: October 2009

IMDb
LoveFilm
Rotten Tomatoes

We're staying in Blighty this week, following last Friday's pick A Field In England, moving from historical to modern with a film by another British gem, Shane Meadows. Let's take a look at the hilarious mockumentary Le Donk & Scor-zay-zee.

Le Donk (Paddy Considine, Dead Man's Shoes, Submarine) always thought he'd hit it big. A wannabee rock star, he has had to settle with a life as a roadie. This may be well deserved, as he's an arrogant, if misunderstood, waster. However, his interesting character has caught the attention of Shane Meadows (the director, playing himself) and his crew that he is now the core subject of a documentary film they are making all about him.

He can't believe his luck. Already acting like a celebrity on their first arrival, he's comical if misleading. But there may be more layers to him than first realised. We learn that he is estranged from his girlfriend, Olivia (Olivia Colman, Tyrannosaur, The Iron Lady), who is pregnant with his child, highlighting the pressure he is put under from the pending responsibility of fatherhood, and the creeping "friend" of Olivia's who is always around her.

All is not lost in Le Donk's life however, thanks to meeting Scor-zay-zee (UK rapper, playing himself). He sees something special in this talented youth, and wants to better himself by promoting the young star as the emcee of today. He thinks that maybe with his contacts working in the music business, he may be to get some stage time for his new friend, and benefit himself in the process.

It just so happens that Le Donk has a big concert to work for soon. Sited up in Manchester, with a headline appearance from UK rock band Arctic Monkeys (in a brief cameo), it's a potential platform for his budding freestyler pal to get some attenti0n. And, with a little sweet talking here-and-there, it may just be possible to get him an appearance.

Except, with Le Donk it is never that simple. Amidst what appears to be a generous gesture to his new protégé could just a channel for him to have his own success. Question is, can he be the better man and help his new friend instead of piggy-backing on his talent?

Shot in an incredibly brief five days on a modest budget of £48,ooo, Le Donk & Scor-zay-zee is a great achievement in shooting on very little resource. Due to the docu-film style, it's all filmed very directly with handheld operation, nose diving right into each scene. 

And as soon as opening credits begin, over-layed with Scor-zay-zee's bouncy and catchy tune "Rupert Brown", blaring out over an animated stylised vignette caricaturing our two lead characters, the required tone for this film begins to set in. This jovial beginning builds an identity taken on by our tale.

The key to this grown persona is comedy. Largely improvised it's brilliantly funny. Some of the laughs are truly great, especially in the relaxed ad-libbed scenes between Considine and Scor-zay-zee. One particular scene that tickles the funny bones is when Le Donk is reeling off some hooks for a song that his rapping friend has pieced together. The crew filming can't keep in the hysteria, while Considine strains to continue. There's a blend of real laughter and acting brilliance with everyone involved, and this kind of vibe is rarely captured on film. 

Yes, the mockumentary style has been mastered by many over the years, especially when considering the likes of Ricky Gervais and Christopher Guest. Yet, it's the breaking of barriers between documentary subject and film crew, allowing reality and fiction to merge, that makes this picture so unique. It's real but unreal all at once. The best way to describe it perhaps is that it attempts internally break the fourth wall, bleeding past the lens within the scenes but without bursting to far into our living rooms. It's a hard balance to master and Meadows has done so effortlessly.

It's this lighthearted, freestyle method that makes this one of the most realistic mockumentaries you will ever see. With a loose script, where nearly all of the dialogue was made up on the spot, it seeps into your psyche in the first few minutes. This naturalistic approach also means that you fall into the tale immediately without even noticing. It's an extremely relaxed way of presenting this material allowing the characters to flourish.

It's a real character's journey too, centred mainly around Le Donk. He has moments of self-awareness that are unexpected and moving. Some of these tendencies reveal themselves in scenes with Olivia Colman, where they discuss next steps in parenthood; their differences marring the inevitable. 

One juncture that really demonstrates this in a microcosmic instance is an exchange between our leads in their motor home, where honesty overrides bravado. Its this and many other moments with the pair that really shine within this piece, with an unusual, yet excellent, chemistry between both characters throughout.

Considine is fantastic as he always is (if any of you haven't noticed before, I may just be a fan of his!) but the great surprise here is Dean Palinczuk a.k.a Scor-zay-zee. A real-life Nottingham-based rapper playing a version of himself, he's quite fascinating in this. An exuberant character and a talented rapper in reality, it's great to see him act more downbeat, acting as a lost soul for Considine to mould in this tale while tapping into the hearts of the crew that are following him. The head of these film makers is Shane Meadows himself, playing a slight alternative of his own personality as the documentarian. His involvement in front of the lens grounds this story even further and lends to allow a playing field for Considine to let rip with his old time friend.

  

Paddy uses some of his charisma and acting instinct to bring this bizarre character to life. Le Donk or "The Donk" as originally termed by Considine and Meadows, is a character that's been around with the pair for some time. Basing him on "hanger-ons" with musicians, Paddy would take on the persona of this deluded individual off camera to pass the time. 

Over the years, Le Donk has evolved into a fully formed man, and until a few years ago there was no opportunity to place him in front of the camera. However, with Meadow's desire to step down from a larger production (in this case, This Is England) to make something more humble and direct, finally finding a realm for the peculiar individual that is Le Donk is to the benefit of this fresh and highly enjoyable tale.

Shane Meadows is now a household name in the UK and has reached across international waters in small doses. What's incredible however is that, even after great success, this intelligent and creative director hasn't allowed himself to be sensationalised by the movie industry. This is to our advantage. As lovers of film, we can always guarantee that film makers like Meadows will always be able to take a step back and create original premises in natural surroundings. Le Donk & Scor-zay-zee is a prime example of this and is testament to what can be achieved with little finance, a sandbox script and little bit of that quirky British humour.

If you want to read my reviews of other films by Shane Meadows click on the respective links for A Room For Romeo Brass and Dead Man's Shoes.

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