MOONRISE KINGDOM

Wes Anderson was, for me, a film-maker like Tim Burton.  A man with a distinct and beautiful visual style but whose tendency to rework the same themes, with the same actors, playing essentially the same characters, had begun to pall.  I particularly hated his last live action film, THE DARJEELING LIMITED, for its self-absorption, narcissism, rather exploitative attitude toward its Indian context, and ultimately for just being dull. With this in mind, I went into  MOONRISE KINGDOM with barely any hope that I would find the kind of film - at once whimsical and yet also profound (echoes of Tarsem Singh's THE FALL!) - that I had fallen in love with while watching THE ROYAL TENENBAUMS.

Well, my fears were groundless. MOONRISE KINGDOM is a simply wonderful film.  It is, of course, beautifully designed, rich in background detail, empathetically scored, and well-acted.  It affects a sweet yet knowing innocence - it's full of characters struggling to deal honestly with themselves and their loved ones - it deals with the darkest of emotions but it drips with hope - in friendship, in people doing the right thing - in family.  It's as if everything that began to feel so clichéd about Wes Anderson has finally been re-united with sincere emotion - and that this emotional authenticity has cut through the stagey-ness of the costumes, locations, soundtrack - and transformed a whimsical confection into something altogether more lasting, provocative and memorable.  It's as if Wes Anderson finally gave in and just told the story he always wanted to tell - about first love.

Suzy B (Kara Hayward) falls in love with an eagle-scout called Sam (Jared Gilman) one golden summer in 1965. The carefully hatched plan to leave together triggers a sequence of scrapes, jams, shenanigans, emotional revelations and deeds good and ill.  

Anderson perfectly captures that intensity of feeling when you're a kid and you feel nobody understands you apart from this one perfect person. Suzy's trying to escape her family - her kid brothers, her distant father (Bill Murray) and the mother (Frances McDormand) she suspects of sleeping with local policeman (Bruce Willis). Sam's an orphan and a misfit with a good heart. In one of the most affecting scenes, written in exact mimicry of how we speak at that age, Sam tells Suzy he loves her but she's talking nonsense for hating her parents. Suzy and Sam run away together.  They're at the age and living in the time when you're hold world fits into a suitcase, and you take your're favourite adventure stories rather than clothes. When you can place you're entire life into the hands of another person without second-guessing yourself.  

There's a deep vein of melancholy running through the film. Most of the adults seem desperately lonely, none moreso than Ed Norton's majestically decent scout leader.  The exception is the almost mechanical Social Services, played by Tilda Swinton with steely efficiency. But the kids are in their own world, where all things are possible, and where adults barely skim the surface, except as occasional constraints and only too rarely as facilitators. There's excitement and wonder and threat and crushing disappointment. As the movie builds to a pivotal final scene (superbly scored to Britten's Noye's Fludde) I realised that I deeply cared about these kids.  I wanted desperately to know what they happened to them, and not just to download the soundtrack they were listening to. It's been a long time, but we finally have a Wes Anderson movie that makes us feel as well as admire its surfaces.  

MOONRISE KINGDOM opened Cannes 2012. It is on release in France, Germany, Ireland, Turkey, the UK and he USA. It opens next weekend in Belgium, Iceland, Hungary and the Netherlands. It opens on June 6th in Sweden, on June 8th in Norway, on June 15th in Greece and Spain, on June 21st in Russia, on June 2nd in Portugal and Lithuania, on August 16th in Slovenia and Argentina and on August 30th in New Zealand.

SCOTT PILGRIM vs. THE WORLD - Heart-stripped Part Deux

So, I want to state that I DO think I have a sense of humour and I'm not some kind of kill-joy. It's not that I hate all things comic book or gamer or hipster, although lately Michael Cera has started to annoy me with his one-note, "hey I'm so geeky, but in a sort of superior way to you", schtick. I think what gets me with these hipsters is the fact that they're all making so much damn mainstream money out of trying to be counter-cultural. Like you can be counter-culture when your interviewed in Interview magazine. Anyways, despite my hipster-fatigue, I was REALLY looking forward to SCOTT PILGRIM vs THE WORLD for the simple fact that I think its director and co-adapter, Edgar Wright, is some kind of comedy genius. This is the man who, with SHAUN OF THE DEAD and the absolutely amazing HOT FUZZ made movies that combined a post-modern, slippery playfulness take on genre-cinema with real heart. And, boys and girls, you gotta have heart. Without heart - without characters that we emotionally engage with - no movie, no matter how clever and witty and inventive, is worth my time. And SCOTT PILGRIM really wasn't worth my time.

This is the concept. Scott Pilgrim is a loser, hipster, geek who plays in a band. He has no money but he can still afford cool trainers. (See video above.) He's dating a psycho-stalker high school chick called Knives Chau who is NOT as cool as her name would suggest and definitely needs to get to a SLAA meeting. But he really wants to be dating a hipster chick called Ramona Flowers, who has outlandishly coloured hair and Seven Evil Ex-es. I have yet to fathom why either girl would want to date Scott - let alone his ex-es, band-mate Kim, and now-successful rock-star, Natalie/Envy. He's a scrawny, incompetent, infantile guy who looks pre-pubescent. I mean, I know some girls like unthreatening, but this is unreal. Anyway, back to the movie. By quasi-dating Ramona, Scott unleashes the Seven Evil Ex-es who he has to fight, video-game stylee, in order to be with her; or gain self-respect; or discover who he really wants to be with; or something. Honestly, by about fight number three I was seriously losing interest. A mock video-game fight HAS NO STAKES. If you lose you don't die - you just click for your second life. If you win, there's just another stupid fight around the corner. And who cares who these characters end up with anyways? Yes the visual tricks are fun - the little knowing comments editorialising the action - and yes, it IS funny to take the piss out of Vegans and pretentious record producers but COME ON! This movie is a one-trick pony. Clever for the first ten minutes, but then repetitive, trite and superficial. I want and expect more from Edgar Wright. I want to see real friendship on screen - friendship like that shared between Simon Pegg and Nick Frost in SHAUN and HOT FUZZ. Not this heart-stripped clever-clever nonsense.

Additional tags: Michael Bacall, Bryan Lee O'Malley, Mary Elizabeth Winstead, Ellen Wong, Kieran Culkin, Anna Kendrick, Ben Lewis, Aubrey Plaza, Nigel Godrich

SCOTT PILGRIM vs. THE WORLD is currently on release in the US, Canada, New Zealand, Australia, Russia, Kazakhstan, Ireland, the UK and Iceland. It opens in late September in Croatia, Estonia, Sweden and Israel. It opens in October in Finland, Norway, Turkey, Greece, Brazil, Argentina and Singapore. It opens in November in Malaysia and Italy and in December in Greece and Spain. It opens in January 2011 in Germany and the Netherlands.

London Film Fest Day 2 - FANTASTIC MR FOX - reviewsmoviebook's review

Intrigued by Professor007's negative response I checked out FANTASTIC MR FOX today at the 6pm screening sans red carpet. I came to it with a different perspective, having both read the Roald Dahl short story as a child, and having seen all of Wes Anderson's movies.

The bare bones of the story are simple. Mr Fox steals chickens, cider and ham from three mean farmers in order to feed his family who live in a burrow nearby. In retaliation, the mean farmers lay siege to the fox family. Brilliantly, Mr Fox steals all their stores from under the farmers' noses, provoking the ultimate retaliation and a fantastic finish. This being Roald Dahl, the mean farmers are nasty, venal and petty, and Mr Fox is universally lauded as being clever, brave and wonderful! After all, he's forced to steal to feed his family.

Wes Anderson brings his own obsessions to the story: obsessions which at first sight were fascinating and entertaining (see my review of THE ROYAL TENENBAUMS) but which now look re-hashed and tired. The character of Mr Fox (George Clooney) is simply Royal Tenenbaum as an animated fox - he's charismatic, eloquent, charming but hey - he's just going to do what he wants to do. His wife, Mrs Fox (Meryl Streep) is the classic wise, suffering mother-figure that we see again and again in Wes Anderson films, though not played by Angelica Huston this time. Mrs Fox wants Mr Fox to settle down and be responsible. They're not starving in this version, you see. Mr Fox just steals for kicks. The classic Wes Anderson dynamic carries over to the relationship between Mr Fox and his son Ash (Jason Schwartzman) - a Chas Tenenbaum figure - desperate for his father's approval but always overlooked for another - in this case cousin Kristoffersen (Eric Chase Anderson). They even fight over a bored sounding love interest - I'm guessing an uncredited Angelica Huston.

You get the point. This isn't a faithful reworking of Dahl's Fantastic tale, but Wes Anderson goes animated.

So how does it all work? On one hand, I was utterly gobsmacked by the arrogance of Wes Anderson to basically steam-roller everything that made the original book so typically Dahl and just shoe-horn it into his tired MO. What was all this estate agent nonsense? And what on earth was Anderson doing in his pastiche of Battlestar Galactica's use of FRACK with his own word CUSS as in Cuss Off and Cluster-cuss? Mr Fox saving the starving little foxes is a film with stakes. Mr Fox pissed off because he can't flip his house for profit is banal.

On the other hand, you can't deny that, as with all Wes Anderson films, the visuals are beautifully imagined and rendered. George Clooney IS charming as Mr Fox - then again, he's had enough practice as Danny Ocean. The rest of the voice cast is good, with an especially fine turn by Schwartzman as stroppy son Ash. The visual humour works - it is fun to see a possum's hypnotized eyes, and dogs knocked out by valium laced blueberries.

Overall, I was disappointed but I didn't have a terrible time. The film isn't as unwatchable and patronising as THE DARJEELING LIMITED. But it isn't as original and moving as TENENBAUMS or BOTTLE ROCKET. It's a rehash - a re-casting - a re-working. I just wish Wes Anderson had the confidence, and indeed the respect, to have connected more with the source material. He really needs to shed some of his directorial ticks.

FANTASTIC MR FOX opened London 2009 and goes on release in the UK on October 23rd. It opens in the US on November 13th; in Singapore on Nov 19th; in Romania on Nov 20th; in the US on Nov 25th; in Italy on Nov 26th; in Brazil on Dec 4th; in France on Dec 23rd; in Sweden on Dec 25th; in Australia on Jan 7th; in Tawian on Jan 23rd; in Russia and Finland on Jan 28th; in Germany, Estonia and Norway on Feb 5th; in Belgium on Feb 10th; in the Netherlands on Feb 18th; in Argentina on March 4th and in Denmark on March 10th.

Eventual tags: children, animation, wes anderson, roald dahl, bill murray, goerge clooney, meryl streep, adrien brody, owen wilson, willem dafoe, jason schwartzman, brian cox, michael gambon, angelica huston, helen mccrory, roman coppola, garth jennings, jarvis cocker,

London Film Fest Day 1 - FANTASTIC MR FOX - Not so fantastic....

This review was written by our Austrian correspondent, Professor007

Maybe it’s my lack of familiarity with the underlying children’s story, but despite being positively biased after experiencing the star-studded line-up at the opening of the 53rd London Film Festival, the film not only left me completely cold but started to seriously annoy me towards the end.

The story is as follows: Mr. Fox (voice by George Clooney) does what foxes do, he steals and kills chickens. He does so also when meeting his lovely future wife, Mrs. Fox (Meryl Streep), but after both get trapped during this pursuit, he promises to his wife that he would never steal chickens again and start a proper job instead – writing a column for the local newspaper. However, after 12 (fox) years living the happy, but rather average family life and raising a son (who turns out to be a bit of a loser), his old ambition for recognition and admiration overwhelms him and he decides to rob the gruesome humans Boggis, Bunce, and Bean. After some initial success, the humans decide to fight back, however, and thus starts a colossal battle between animal and human foes. Unsurprisingly, after several increasingly absurd confrontations, the Foxes win and everyone is happy.

So what made it bad? Firstly, none of the sub-plots was sufficiently developed nor particularly convincing. The supposed initial happy love story between Mr & Mrs Fox did not come across on screen, nor did the conflict that arose following his breach of his promise. The conversations between the two appeared haphazard and neither witty nor deep. Similarly, it is unclear how “ueber-foxian” Mr. Fox feels about his underachieving son: he only shows some positive emotion following a completely unexplained mega-performance during the final rescue mission. And the list goes on. Secondly, I also found the film “technologically” disappointing: the voices didn’t seem to properly match the movements of the animated figures and the detail in the graphics has been done better elsewhere.

It’s not that I don’t like animated films per se, Finding Nemo made me laugh and cry and Ratatouille was exceptionally sweet. Wes Anderson might tell me that this stop motion movie is a different kettle of fish. Maybe, but do I care?

FANTASTIC MR FOX opened London 2009 and goes on release in the UK on October 23rd. It opens in the US on November 13th; in Singapore on Nov 19th; in Romania on Nov 20th; in the US on Nov 25th; in Italy on Nov 26th; in Brazil on Dec 4th; in France on Dec 23rd; in Sweden on Dec 25th; in Australia on Jan 7th; in Tawian on Jan 23rd; in Russia and Finland on Jan 28th; in Germany, Estonia and Norway on Feb 5th; in Belgium on Feb 10th; in the Netherlands on Feb 18th; in Argentina on March 4th and in Denmark on March 10th.

Eventual tags: children, animation, wes anderson, roald dahl, bill murray, goerge clooney, meryl streep, adrien brody, owen wilson, willem dafoe, jason schwartzman, brian cox, michael gambon, angelica huston, helen mccrory, roman coppola, garth jennings, jarvis cocker,

FUNNY PEOPLE - We hate it when our friends become successful

FUNNY PEOPLE is multi-hyphenated film-maker, Judd Apatow's, attempt to move from frat-boy comedy to auteur status. It's not enough that he's written, produced or directed almost every successful Hollywood comedy of the past few years. He wants respect for something other than telling dick jokes and raking in the proverbial phat cash. In order to do this, he has made a self-referential movie about how success corrupts and ultimately does not satisfy, illustrating this with the relationship between Adam Sandler's successful Hollywood funny-man and Seth Rogen's aspiring stand-up comedian. Sandler's character treats women like shit, has no friends, has lost the love of his life by cheating on her and has lost the joy in writing comedy. When diagnosed with terminal illness he basically pays Seth Rogen's character to be his friend. And even Rogen's character, who is meant to be the moral compass of the film, back-stabs his room-mate to get the gig. And what of life in the real world? The "one who got away" is ready to trade in her husband and kids for a narcissistic dream of young love and a revitalised career. And even her husband is an arrogant schmuck. I mean, when you break it down, there aren't any pleasant characters in this movie. There's no one to root for, and no real self-discovery or improvement. Fundamentally, everyone is self-involved. And that isn't funny. It's depressing.

Granted, there are a lot of jokes in the film, and I did laugh a lot. Most of the humour was fairly lazy - the typical dick and wank jokes. The skits that really landed a punch were typically not the classic Apatow jokes - the German doctor was funny, as was Eminem in pure dead-pan satire. But there was way too much self-indulgent fluff involving Apatow gathering comedians he likes on screen and generally just schmoozing. You can see where the guy who had kids breakdown the narrative structure and comic breaks in STRIPES and THE JERK in FREAKS AND GEEKS would get off on this sort of fan-fic. But, as they say, there is nothing more boring then listening to someone else describe their dreams.

I was disappointed not to see a more savage breakdown of the Sandler-Hollywood-superstar persona. I've always found there to be something slightly sinister about Sandler's humour. PUNCH-DRUNK LOVE exploited that brilliantly. FUNNY PEOPLE doesn't really have the balls to try. On a more prosaic note, I thought the second half of the film, with the Star trying to break a marriage, was over-long, drifted and needed drastic editing down. Note to Judd Apatow - it is possible make a classic comedy that's 90 minutes long.

FUNNY PEOPLE was released in July in the US, Kazakhstan, Russia and Canada. It was released earlier in August in Egypt and Mexico. It opens in the UK on August 28th. It opens in September in the Netherlands, Iceland, Spain, Australia, Germany, New Zealand, the Czech Republic, Singapore and Romania. It opens in October in Greece, Estonia, Turkey, Belgium, France, Italy, Portugal, Denmark, Norway and Sweden. It opens on November 26th in Argentina and on December 3rd in Hungary.

Wes Anderson's THE FANTASTIC MR FOX to open London 2009

After the genius of BOTTLE ROCKET and THE ROYAL TENENBAUMS and the self-indulgent fiascos of THE LIFE AQUATIC WITH STEVE ZISSOU and THE DARJEELING LIMITED, all eyes are on Wes Anderson's next project, an animated adaptation of the Roald Dahl classic, THE FANTASTIC MR FOX. Set for release in the UK on October 23rd and in the US on November 13th, the movie will open the London Film Festival this year. Let's hope it can break the hoo-doo of recent open films which have all been picked on commercial rather than critical grounds - mediocre, solid but that's all. I give you films such as THE CONSTANT GARDENER, FROST/NIXON and oh, that awful biopic, SYLVIA. So far, things look good. We have a voice cast stuffed with Anderson regulars - Owen Wilson, Angelica Huston - but we also have top notch British characters - Michael Gambon, Helen McCrory - not to mention genuine Hollywood A-list in Meryl Streep (stepping in for Cate Blanchett as Mrs Fox). I also love that Anderson has gone back to old school stop motion animation. Sounds, if not fantastic, given his recent record, at least intriguing....