The Fish Child (2009)

After a long period with very little time on my hands, I’ve realised that almost all of the films I’ve seen in the last six or so months have been big famous films in the cinema. The ones I’ve been looking forward to for ages and the ones that everybody’s talking about. And as good as it is to see the Gatsbys and the World War Zs and so have the ability to discuss them excitedly with others, I thought it was about time to return to what I seem to do best – watching random films that no one has heard of.

So it was that I joined Netflix last night. That’s right: I have absconded from Love Film – abandoning it in favour of the younger, sexier model. Receiving DVDs through the post no longer really suits my viewing habits and Love Film Instant is pretty shoddy so why not branch out? That said, the first three films I searched for weren’t on Netflix either, although they are on Love Film on DVD – maybe I will once more return to the fold, truly repentant and admitting my error in judgement. I may then reap the rewards of Only God Forgives, Mud, and The Impostor... one disk at a time.

Anyway, whilst excitedly looking through the recommendations from Netflix and after some repeated “No Netflix – I definitely don’t want to watch Beverly Hills Chihuahua!” I realised that many of recommendations were either crap (various saccharine American chic-flicks), or gay/lesbian films. That’ll be the influence of Mysterious Skin sinking in then. Hopefully the recommendations will sort themselves out in time but they’ve only got one month to impress me before I decide whether or not to pay for the service. The clock is ticking.

This gay/lesbian influence is only likely to increase however after watching The Fish Child (El Niño Pez) – the tale of Lala, a rich teenage girl in Buenos Aires who is in love with her (female) housemaid. This should have everything I enjoy in a film – strong female characters, foreign language, and a bit of sexual violence thrown in (no, I don’t know what’s wrong with me). It also has a bit of zipping about through time as the film is mostly told through flashbacks, showing the relationship between the two women develop as they plan for the future – running away to a fantasy house by a lake in Paraguay.

Whilst a definite story is there, and a good one too (there’s murder and mystery, one which we’re fed pieces of gradually through the film) it’s a story that’s really quite hard to follow. There aren’t many physical clues for us to gauge the timing of each individual scene, and I don’t think I’m wrong when I say that the flashbacks aren’t strictly in chronological order. The characters’ motivations seem to swing between extremes too and not completely believably.

Overall, it was nice (if nice is the right word about any of the films I watch), but I just didn’t get it. Even the title was only explained in a hurried way at the end. Perhaps that was supposed to be a climax – it wasn’t very climactic. The legend of ‘The Fish Child’ barely seemed to be relevant at all, although it was referred to sporadically. My main opinion seems to “that’s a shame, it could have been so good”.

The Fountain (2006)

If pushed to state a favourite director, I would have to say Darren Arronofsky. Black Swan is very high up on my top films ever and Requiem for a Dream is unarguably incredible. I haven’t seen The Wrestler yet. Director aside it doesn’t really seem something I’ll like and I don’t like Mickey Rourke’s face. Pi I feel might be a bit difficult, and so I’m putting it off. Noah, though I am looking forward to immensely, but unfortunately it’s not released until next year. The Fountain therefore offered the logical next foray into Arronofsky’s work.

Set at three different points in time it follows a couple in their search for the tree of life. Merging Myan legend with bible stories and science fiction the separate stories link together frequently to give continuity to what otherwise could be a bitty film.

The original intention was apparently for the film to star Brad Pitt and Cate Blanchett. While Blanchett would of course been fantastic, I think the eventual casting of Rachel Weisz is perfect. Hugh Jackman too was cast well and took on a role very dissimilar to anything I have previously seen him in. A combination of period costume and space travel is a long way from Wolverine. He does it very well though and managed to make me forget that it was him, which is impressive with three roles to play.

I’m still not entirely sure whether I liked this film as a whole piece. It took me a little time to get into, and perhaps it was a little too surreal in places. There were also some aspects which I didn’t feel I understood sufficiently to appreciate their full meaning.  There were many points however when I was completely bowled over and fully involved in and loving everything I was watching. Throughout The Fountain grabbed my emotions and did with them what it wanted which, when it comes down to it, is all I’m really looking for in a film.  I’m left with the overall feeling that I did like it, although I think that that will be cemented with a second viewing, this time more prepared for what I’m about to watch. 

The Great Gatsby (2013)

I’m not sure how it came about that I was eagerly anticipating The Great Gatsby. I have no great love of Baz Luhrman although I very much enjoyed Romeo + Juliet when I re-watched it a couple of years ago. Without the giggly Leo-loving schoolgirls or the class-room setting (which ruins any good film/book/play) I found the direction exciting, lively, and evocative. Moulin Rouge on the other hand I’ve tried to sit through twice and spectacularly failed both times – I think its crap. I’ve heard very little about Australia. I imagine that’s because it’s quite meh (6.6 on IMDB) and no one has any real opinion about it. Perhaps I’m wrong.

Anyway, either Luhrman has burrowed into my ‘like’ category of directors without permission or there were other forces at work. Possibly it’s that external influences have given me a fondness for all things vintage recently, possibly it’s because I discovered the existence of the film project as I was reading the book, or possibly it’s the actors. I really quite like Carey Mulligan, despite Never Let Me Go and Shame (both disappointing) and Leo really is a very impressive actor when he wants to be, as I was delightfully reminded recently by Django Unchained.

Maybe it was just good marketing.

Whatever the reason, my excitement as The Great Gatsby was released was stupid. Having previously read the book I should have been prepared for an otherwise perfectly good film that made me angry because they changed the colour of a pair of gloves (or some other such insignificant detail). However, I wilfully ignored my previous discussion of film vs. book I had only hours-since written in my Life of Pi blog and continued to be hyper-levels of excited until I actually took to my cinema seat.

It was awesome. I say this with some hesitation. What I mean to say is the view, the scenery, the music, and the glitter, all combined with gratuitous use of 3D made for a spectacle that inspired awe and wonder. This film is all about the visuals, and it does it ever so well. Everything was so good to look at and so good to listen to that I came out of the cinema thoroughly happy. However, that’s not to say that it is a great piece of cinema. As a film it wasn’t flawless and if I wanted to delve deeper I could find a lot of problems to grumble about. This is one to definitely take at face value and indulge in the many many cocktails, the flowers, the costume and the music. The modern music apparently – that surprised me and I think it worked really well, although I know others disagree. The use of Alicia Key’s Empire State of Mind I think was silly – Sex and the City 2 monopolised use of that song when it was released in 2009/2010, and it has been played to death since. Other than that, it was fantastic.

Looking at it at a superficial enjoyment level (which I don’t think does it a disservice), I could think of 4 flaws in the entire film, all of which are pretty trivial:

1. Use of Empire State of Mind (part II), however briefly.

2. One too many ‘old sport’s from Gatsby – I know it’s his thing but a few of them were a bit clumsy.

3. The framing of Tobey Maguire in the final Gatsby-Carraway scene. It just looked a little odd.

4. I can’t actually remember the forth. It was probably something petty to do with the party/soppy bits of plot ratio. Too much soppy.

All in all, pretty good. I’m not sure if I’ll bother seeing it again unless the screen is big and the stereo of a good quality. It needs it.

I should also mention Daisy Buchanan’s diamond ring. Possibly the fanciest and nicest piece of jewellery ever – I’ll put one on my birthday list. 

Les Misérables (2012)

It wouldn't be exactly true to say that I don’t like musicals. I loved Oliver when I was younger, and still very much enjoy Chicago – both the film and the show. Keep me clear away from Andrew Lloyd Webber though – stupid melty-face toad man! Les Misérables is a very different style to most others (as far as I’m aware). It’s not a play with a bit of music added in for fun and good measure – everything is sung, as it is with an opera, which is fine I suppose but it does take a bit of getting used to.

My prejudices against this film going in were not, therefore, entirely musical-related. It was more the cast. Specifically Anne Hathaway and Amanda Seyfried. Especially Amanda Seyfried. Between them they’ve been in so many bullshit films that I’ve had to endure hearing about (even if I haven’t actually seen most of them) and I resent them for bringing them into my life. Examples include: Red Riding Hood, Dear John, Bride Wars, Letters to Juliet, Valentine’s Day, and Becoming Jane. What a load of crap.

By contrast Les Mis also features some very lovely people: Eddie Redmayne, Helena Bonham Carter (even if she does play the same character as she does in many of her other films), and Hugh Jackman. There’s a fantastic collection of films that they’ve participated in: The X-Mens, Fight Club, Glorious 39, Twelfth Night, The King’s Speech, My Week with Marilyn. Real films that, even if they don’t suit everybody, at least weren’t written by Nicholas bloody Sparks.

An exception can be made for The Dark Knight Rises, which is obviously a fantastic film, and which doesn’t suffer too much for including Hathaway. I’m not sure she really adds anything though.

The presence or otherwise of Russell Crowe doesn’t really bother me. He’s one of those actors that has completely passed me by. Obviously I know very well who he is but of his reasonably lengthy film list, I’ve only seen Gladiator (once, a while ago), and Robin Hood. I might perhaps have seen A Beautiful Mind, or the beginning of it at least, but I can’t really remember it. Maybe I’ll try that one again.

Anyway… luckily for me aforementioned annoying actresses appear only very briefly. I am also forced to completely retract anything negative I have ever said about Anne Hathaway’s ability to sing. As much as everyone’s gone on about it and she’s nominated for an Oscar and all, I didn’t really believe she’d be anything other than adequate. I was very wrong. While her general acting is nothing to write home about, that Dreamed a Dream song is amazing. Whether it’s her singing, her facial expressions and body language, or the cinematography throughout, it’s a very powerful part of the film and, while I won’t admit to breaking down into hysterical tears, I was very impressed at the song’s strength.

I’ll let it be known at this point, that I don’t cry at films, not even Titanic. In the whole history of my film-watching I have cried at only 3 (that I remember). The first is a pile of rubbish and I don’t know what came over me – I blame teenage hormones. I won’t mention the film by name but suffice to say it starred Mandy Moore. One other is still my favourite film of all time: The Secret in their Eyes – it’s amazing and twisted and clever and everyone should watch it!

Film no. 3 I have to confess is Les Misérables. There was a reasonably steady stream of tears going by the end. Clearly it cheats by the strong use of music and everyone dying but the fact still remains that I apparently cared enough to display outward emotion and that deserves some serious praise.

Amanda Seyfried is just as annoying as I expected, but she doesn’t feature much so never mind. Actually, that was a point I found quite amusing. The character Marius (Redmayne) falls in love with the cute, blond Cossette (Seyfried) and fails to return the (probably more sincere) love of Éponine, the daughter of his landlord. Éponine is played by Samantha Barks who, after a brief look at her IMDB page, appears to have first appeared on the I’d Do Anything talent show. Maybe Webber does have a use after all as Barks is magnificent and easily outshines Seyfried. What is Marius thinking? She’s definitely someone to look for in future films.

I also think a lot of the credit for the success of Les Mis should go to director Tom Hooper. Not only did he direct The King’s Speech which is clearly marvellous, but he also (apparently) directed some Byker Grove episodes back in the day – what a hero! In the wrong hands this could have been an overly sentimental disaster but it’s not. Well, it’s obviously overly sentimental – it’s a musical – but it’s human and more believable than I think any stage production would be able to make it. I’m clearly biased though.

Lie With Me (2005)

Eric Balfour can be found in quite a few of the films and TV shows that I’ve watched over the last 10 years or so. He’s Theresa’s fiancé Eddie in The O.C., he’s Milo in 24.  He also crops up in What Women Want and Six Feet Under. He’s also apparently is in this.

‘This’ is basically a teen film. It revolves around the relationship of two uni students (Played by Balfour and Lauren Lee Smith) and the twists and emotional bullshit that inevitably goes with it. That’s fine, except it’s far far far too sexually explicit to be aimed at teenagers. The plot isn’t complicated enough to really grip an adult audience though. It’s very loose, and probably not very believable, but never mind eh? It’ll do.

It’s directed by Clément Virgo, who doesn’t seem to have done anything else that I recognise except for odd episodes of The L Word and The Wire. What a contrast. The Wire is supposed to be so amazing (no, I haven’t got round to watching it yet), but The L Word… well… that was a massive pile of wank. Apparently Lauren Lee Smith was in it at one point. The only interesting thing she seems to have done apart from that is a bit of CSI. Meh.

As a film Lie With Me is fine. I don’t consider it a waste of time and at no point when watching it did I get bored enough to bother switching it off. The plot’s vague and the general idea is a bit teeny but it held my interest well enough. I recommend it as a highly suitable film for those lazy days when you don’t really want to concentrate on much. Or fancy watching some poorly justified ‘artistic’ sex.