iPad Round-Up 2 - THE INTERRUPTERS

Steve James' (HOOP DREAMS) documentary, THE INTERRUPTERS, is an absolutely fascinating, compelling and politically incisive film about tackling gang-related crime in contemporary Chicago. He shadows volunteers working for a project called CeaseFire - a programme that takes former gang-members and has them "interrupt" violent situations before they happen, trying to talk  kids down from dangerous situations.  Sounds simple enough. But within this simple format comes a nuanced, emotionally affecting exposition of life in deprived inner cities - a film that is as incisive and unblinking as David Simons' superb THE WIRE, but without that show's defeatist message. If there is a "star" in this documentary, then it has to be Ameena Matthews, a former gang-member in the same mode as THE WIRE's real-life Snoop. She has turned her life around, become a committed muslim, but still has that same scary authority that she must have had as a gang leader. She speaks so much sense, so straightforwardly, that you wish her influence were greater, that there were more people like her working the streets. Few Hollywood starts speak with such charisma and authority, and it's her presence that transforms this film from being earnest and didactical into being a genuinely fascinating watch.  

THE INTERRUPTERS played Sundance 2011 and went on limited release in the US and UK in summer 2011. 

Overlooked DVD of the month - AMERICAN HARMONY

AMERICAN HARMONY is a lovely little documentary that follows a handful of barbershop quartets as they compete in the annual international competition in Indianapolis. I came to the movie with all the prejudice of one who's sole experience of barbershop was the satirical depiction of pretentious East Coast yuppies in TRADING PLACES. I had images of hearty East Coast brahmins, self-consciously anachronistic. And to a certain extent, I wasn't wrong.  There are almost 50 quartets who qualify to get to the international final each year, and I didn't see a single non-white male among them. And the stadium full of fans watching them were, shall we say, similarly racially homogeneous. Still for all that, you can't deny that the music is catchy, the humour gentle and harmless, and the vocal technique impressive.  And even if you don't give a damn about barbershop singing there's something compelling about watching these otherwise unremarkable people devoting so much time, energy and emotion to their craft. 

Almost against myself, I found myself completely enthralled with the competition, and feeling tense as we got to the final round.  And that has to be the proof of a successful documentary.  At their best, documentaries take us into niche worlds that we would never have known about, and give us insight and empathy. That's exactly what AMERICAN HARMONY does. Is it perfect? No.  The video quality is lo-fi (the movie was shot  by director Aengus James), and there isn't enough on the history and context of barbershop singing for my taste. But these are quibbles. AMERICAN HARMONY is a good time, it's insightful, and something of a relief after the relentlessly over-produced caterwauling of Glee.  

AMERICAN HARMONY played Boulder, Sedona and Nashville 2009 and was released in the US in 2009. It is available on DVD.

Overlooked DVD of the month - THE SUNSET LIMITED - Fides et Ratio

THE SUNSET LIMITED is a philosophical drama based upon the stage-play by Cormac McCarthy (THE ROAD, NO COUNTRY FOR OLD MEN). As both stage-play and film, it is rather an odd fish - dispensing with the conventional requirements of plot and character development for a straightforward dialogue between two characters, "Black" and "White". Tommy Lee Jones (who also directs) plays "White", a dessicated college professor and atheist who wants desperately to commit suicide. Samuel L Jackson plays "Black", an intelligent but poorly educated former convict and Christian convert, who stopped "White" killing himself before the movie begins. The movie is, then, simply a debate between these two men, the atheist and the believer. Both are articulate, passionate and sympathetic and the stakes are the very highest. Thankfully, we are spared any pat answers. 

Why is the film worth watching? Why wouldn't you just read the stage-play? Given the suitably restrained direction, photography and score, the real answer is for the brilliant central performances by Tommy Lee Jones and Samuel L. Jackson. Jones has, I think, the easier task, as the clever man, convinced he is right, and essentially unchanged by his experience. Jackson, on the other hand, has to portray a man whose faith is challenged by a brilliant defence of nihilism - by a superficial failure - and yet emerge triumphant. 

THE SUNSET LIMITED was released in the US in February 2011 and in Spain in April. It is available to rent and own.

Overlooked DVD of the month - MARY AND MAX

MARY AND MAX is an amazing film, and all the more wonderful for being un-expectedly so. It's a darkly comic, emotionally raw clay-animated drama about the unlikely friendship between two very lonely people - a little girl called Mary, who lives in Australia, and an old man called Max, who lives in New York. Mary Daisy Dinkle is lonely because her mum is a mean drunk and her father is a withdrawn taxidermist. She hates how she looks, she's socially awkward and other kids tease her. Max is lonely because he finds the world strange and irrational and frustrating and retreats into a closed existence of comfort-eating and writing angry letters. They are each other's only and best friends. 

The movie takes us from the early heady days of their friendship - the first not to involve an imaginary friend for both of them - through Mary's adolescence and marriage. The friendship blossoms, then flounders on betrayal, and is finally redeemed. The journey is genuinely moving - I cried like a baby at the end of the film - and I was happy to have spent time with these intriguing people despite the harsh material I was forced to endure - drug abuse, sexual infidelity, self-loathing, suicide and chronic disease. 

If all this makes MARY AND MAX sound about as much fun as shock-therapy, then please believe me that despite the unbearable sadness as its heart, it's also a very funny, and ultimately uplifting film. The detail of the art design is wonderfully witty, with lots of clever details to repay a repeat viewing, and the verbal humour is at once pathetic and laugh-out-loud funny. I have always had nothing but praise for Philip Seymour Hoffman, but he really surpasses himself as Max, imbuing every sentence with common-sense, hurt, longing, fear and unintentional wit. Toni Colette is wonderfully misguided and sympathetic as Mary, and even Eric Bana gives a sweet cameo. So, if you love the kind of gentle, warm, heart-breaking humour found in the following quotations, please check MAX AND MARY out. As for me, I just can't wait to see what Australian writer-director Adam Eliot does next.

Max Jerry Horovitz: When I was young, I invented an invisible friend called Mr Ravioli. My psychiatrist says I don't need him anymore, so he just sits in the corner and reads. 

Max Jerry Horovitz: Butts are bad because they wash out to sea, and fish smoke them and become nicotine-dependent. 

MARY AND MAX played Sundance and Berlin 2009 and opened in Australia, the Czech Republic, New Zealand and Russia that year. It opened last year in Denmark, Belgium, Greece, Norway, Brazil, Sweden, Germany, Austria, Hungary and the UK. It is currently on release in Singapore and opens in Japan on April 23rd. It is available to rent and own.

Overlooked DVD of the month - GREENBERG

Writer-director Noah Baumbach makes excruciatingly well-observed films about financially privileged, neurotic, unsympathetic middle-aged Americans. When his films work, they are masterpieces of razor-sharp dialogue and uncomfortable silences and fleeting moments of sympathy for the fundamentally unsympathetic. His latest film, GREENBERG, features a classic Baumbach character, brilliantly played by Ben Stiller. Roger Greenberg is the definition of the bi-coastal American mid-life crisis. He's a forty-something, neurotic failed pop star turned carpenter who spends his life feeling sorry for himself, using recreational drugs, hitting on younger women and basically being self-indulgent and whiny. He is a walking embarrassment - the Uncle who won't grow up - the brother who won't get himself together - the friend who won't admit to his failures. 

Greenberg comes to LA to house-sit his brother's house and, taking the family's cue, casually abuses the services of their au pair/social secretary/general all round skivvy Florence (Greta Gerwig). The interaction between the passive-aggressive Greenberg and the vulnerable, low-self-esteem Florence is fascinating. She is sympathetic but hopeless. Greenberg is simultaneously repelled by her openness, and inflated by the fact that he has finally found someone in such dire circumstances that even a loser like him can help her. (I've been rewatching the classic 1981 BRIDESHEAD REVISITED recently, and as far apart as these things are, I thought I recognised something of the relationship of Sebastian Flyte and Kurt in Greenberg's attraction to finally being of use.)

I liked GREENBERG. Or maybe it's a film that you don't so much like, or enjoy, but see as a reflection of people you know, and admire for its honesty in depicting a certain slice of life. Greenberg is a profoundly unsympathetic character, but I did care about his journey and find some satisfaction, if not redemption, in the final scenes of the movie. GREENBERG isn't as bitterly funny as THE SQUID AND THE WHALE, nor does it have as interesting a cast of characters. GREENBERG feels more like a character study - a closely drawn, almost claustrophobic, portrait of a man in a crisis. It felt real, and painful and sometimes infuriating. But I was happy to have spent time with its characters and bought into the relationships and narrative arc.

Baumbach is, like Nicole Holofcener, the great chronicler of our decadent, pampered lives. Of rich people who feel guilty for being rich, but want all that being rich gives them. Of emotionally unstable people self-sabotaging. Of people in their thirties and forties who refuse to grow up and take responsibility. Of emotional narcissism and the difficulty of connection. I am grateful that there is room for his kind of cinema, even if it is, by definition, a painful watch.

GREENBERG played Berlin 2010 and opened earlier this year. It is available on DVD and on iTunes.

Overlooked DVD of the month - DOGTOOTH

George Orwell believed that the first step toward tyranny was to brutalise language. If the prisoner-citizen cannot articulate his needs he will be more docile. DOGTOOTH opens with such a brutalisation. Three teenagers are kept prisoner by their parents in a gated house. They are taught false meanings for words; to fear vicious monsters in the outside world; and to sublimate their desires. There is no reason given for their imprisonment. Just as in 1984, power is exercised simply because it can be. The logical consequences of absolute parental control are both tragic and absurd. The teenagers are so naive they cannot recognise sexual abuse. When presented with an opportunity of escape, they cannot take initiative. But there is dark comedy too. The father asks if they would like to hear grandfather sing. He puts on a record by Frank Sinatra. The children are in doubt that this is the voice of their grandfather and nod in agreement as the father “translates” their grandfather’s words, exhorting the children to be obedient, from English into Greek.

Giorgos Lanthimos’ film is beautifully shot, logically argued, and deeply, deeply sinister. That is not to say that it is enjoyable, or that I would recommend it for everyone. I went through three phases watching the film. At first, I was intrigued by the concept but turned off by its refusal to explain and bored by watching teenagers effectively do nothing all day. And then, as the logic built upon itself and the situations became more perverse and tragic, I became hypnotised by the film. And finally, I gave in to the absurdity and found it all bleakly funny.

DOGTOOTH played Cannes 2009 where it won the Un Certain Regard award. It also played Toronto, Sitges and London 2009. It opened in Greece and France last year and in Belgium, the Netherlands, the UK, Russia, Norway, Portugal and the US earlier this year. It is now available on DVD and on iTunes.

Overlooked DVD of the month - THE COVE

Now, I'm no hippie vegetarian peace-nik and in general, I am sceptical about the ability of agit-docs to change the world, given that they largely preach to the choir. On top of that, I am sceptical about how many documentaries make good use of the 35mm format and truly deserve a theatrical release as opposed to TV airtime. THE COVE is an exception. Watching it was as close as I've ever come to caring about animal welfare. And that's because the documentary is well-argued; is argued with passion; makes itself interesting by disguising itself as a special ops mission; and finishes with the kind of visceral footage that you just can't ignore.

The basic premise is this: dolphins are no ordinary mammals - unlike cattle or chickens, they are possessed of keen intelligence and self-awareness - traits that make farming them for their flesh, or to perform inane tricks in dolphinariums, particularly cruel. Of course, everyone loves Flipper, and in most countries eating dolphin is taboo. However, in Japan dolphins are indeed farmed, as they are too small to come under the protection of the International Whaling Commission. Not that the IWC would do much: it's shown to be a toothless body in which Japan pays off small countries to vote in their bloc. What's even worse is that the dolphins are not farmed in anything like a humane manner. Rather, in the notorious and eponymous cove in Taiji, they are basically tortured with the loud noise of patrol boats and herded into a netted bay, whereafter fisherman harpoon them to death. How do we know this? Because the documentarians mount a daring special ops mission involving camouflaged cameras hidden as rocks, thermal imaging, and general derring do.

The resulting movie contains beautiful images of the ocean that fully justify the use of a big screen, but also some really powerful images of a cove red with the blood of dolphins and audio tracks of dolphins in evident distress. We also get some heroes: not just veteran campaigner Richard O'Barry, whose claim that a dolphin can commit suicide might stretch credulity, but the documentarians themselves, who decided to get the footage out.

This film is something that many films are lazily called - a "must-see movie".

THE COVE was released in the US, Canada, Australia, New Zealand, Singapore, France, Finland, Germany, the UK, Belgium and the Netherlands last year. It opened earlier this year in Estonia and Sweden earlier this year and in Denmark and Portugal last week. THE COVE is also available on DVD.

THE COVE has been nominated for an Academy Award and has already won a DGA, NBR, WGA and Sundance award.

Additional tags: louie psihoyos, mark monroe, j ralph, brook aitken, geoffrey richman

Overlooked DVD of the month - PONTYPOOL

Okay. So the first thing you have to do is banish thoughts of a Welsh town. This Pobtypool is a town in Canada. And this film, PONTYPOOL, is a superbly claustrophobic, chilling little lo-budget horror flick from Canadian director Bruce McDonald. Based on the book by Tony Burgess, the movie takes place almost entirely within a small-town radio station, where a grizzled old DJ, Grant Mazzy, is stuck with his producer and studio manager on Valentine's Day, broadcasting his sardonic wit to local listeners. In a reverse of the Orson Welles War of the Worlds scenario, the radio station starts getting calls from listeners seeing savagery on the roads, and before they know it, they're hemmed in by infected zombies, who succumb to the infection by stumbling upon their words.

I love the fact that this is a film subverts the very concept of Talk Radio as quite literally an agent for broadcasting virulence. I love Stephen McHattie's charismatic central performance. (It reminded me of how when we saw Richard Jenkins in THE VISITOR, it was like we were really SEEING him for the first time, even though we'd seen him as a character actor in loads of films before that.) And I love the simplicity of the central conceit.

Definitely worth checking out on DVD.

PONTYPOOL played Toronto 2008 and was released in 2009 in Canada, Turkey, the UK and Austria. It is available on DVD.

Overlooked DVD of the month - WHAT JUST HAPPENED?

Over a decade after making the political satire WAG THE DOG, veteran Hollywood director Barry Levinson made a Hollywood satire, WHAT JUST HAPPENED? It features Robert de Niro in the thinly fictionalised role of producer Art Linson, upon whose memoirs the film is based. De Niro's character is trying to get a British auteur (Michael Wincott) to recut his movie so that the studio (Catherine Keener) will give it a Cannes premier. Meanwhile, he's trying to get Bruce Willis to shave off his beard and look the part of a leading man in his forthcoming picture. And then there's the wife he wants to reconcile with (Robin Wright Penn) despite the fact that she's sleeping with the screenwriter (Stanley Tucci); the daughter (Kristen Stewart) who's going off the rails; and the Hollywood groupies who'll do anything, any time, for an interview.

I really liked this film for exactly the reason that all the other reviewers seem to have skewered it. They complain that it isn't caustic enough - that the stakes aren't high enough. All that's at stake, they say, is the continuing functioning of the well-oiled Hollywood money-making machine. By contrast, in Altman's THE PLAYER, or indeed in Levinson's previous political satire, it was a matter of life and death. But surely the point is EXACTLY that the studios, the starlets, the directors and producers are prostituting themselves for worthless commercial dross. In SULLIVAN'S TRAVELS the movies were worth something and that partially excused the shameless behaviour. But this movie is all the more tragic because it shows just how meaningless the whole sharade is.

More superficially, this flick is great because of all the scabrous one-liners. It's eminently quotable in the way that GLENGARRY GLEN ROSS is eminently quotable. It also features a great performance from Michael Wincott as the auteur - a guy who last got a role as memorable when he played Guy of Gisbourne in the Kevin Costner's ROBIN HOOD. You also get to see Catherine Keener in one her most subtle performances as the quietly threatening studio boss who can turn on a dime if she gets a faint whiff of box-office success.

WHAT JUST HAPPENED played Sundance 2008 and Cannes, out of competition. It opened in the UK and US in winter 2008. It is available on DVD and on iTunes.

Overlooked DVD of the month - BIGGA THEN BEN

BIGGA THAN BEN is sporadically very funny, continuously inventive low-budget British comedy about two Russian teens who come to London to make it big. With no qualifications or legitimate work visas, they rely on their fellow Russian ex-pats teaching them how to scam credit card companies and other petty swindles. Based on a book by a genuine Russian ex-pat, the movie delights in poking fun in the British system, and has an admirably honest approach to depicting the shittiness of London weather and the harsh side of London life. The first hour is indeed very funny, very fast-paced and features a nice satirical voice-over from one of the pair (played by Narnia's Prince Caspian). The final half hour of this short film takes a darker turn, as the other kid takes to drugs. Writer-director Suzie Hazelwood doesn't quite manage to pull off the transition to the darker material in the same way as, for example, TRAINSPOTTING did. In fact, by the end of the movie, I had thought it might've worked better as a 55 minute TV special, taking the very best of the material from the feature film. Still, for the faltering ending, BIGGA THEN BEN provides more than enough laughs to repay a viewing, and it's good to see Ben Barnes in a funnier, less epic role.

BIGGA THAN BEN opened in Russia, the UK and the US in autumn 2008. It is available on DVD.