FILM REVIEW: ‘Angus, Thongs and Perfect Snogging’

angus x650By Ray Bennett

LONDON — British movies have a history of exporting incorrigibly phony portraits of life in the country from village green coppers to plucky wartime Cockneys to country house families. Gurinder Chadha’s “Angus, Thongs and Perfect Snogging” adds to the pile with its fantasy snapshot of life as a 14-year-old girl in modern England.

Based on a popular series of books by Louise Rennison that reflect the diary of a boy-crazy teenager named Georgia, the film is aimed squarely at 14-year-old females. With the boys said to be 16 and the girls 14, it all seems suspiciously pervy but maybe not to 14-year-old girls.

The film lacks the wit and drama that might pitch it beyond the target demographic although judging from what makes the girls squirm in the film, it might not succeed even there. Box office will depend on marketing heavily to loyal fans of the books.

Georgia (Georgia Groome) and her pals live in the polite English seaside town of Eastbourne where dads have good jobs with caring bosses; moms have nice homes and when one divorces she quickly sets up her own organic fruit and vegetable market.

They’re good at school, these girls, although they seldom talk about it. They have no money worries and there’s never a thought about what’s going on outside their tiny well-off world. It’s all about boys and the entire plot hinges on the attempts by Georgia and best-friend Jas (Eleanor Tomlinson) to snag hunky fraternal twins Robbie (Aaron Johnson) and Tom (Sean Bourke) who have just moved to town.

Relentlessly cheery without a shred of realism, the film breezes along with Georgia’s chatterbox narration filled with invented slang that probably reads better than it sounds in dialogue. Angus is the family cat. Thongs are what girls wear to please boys but lead to “vulgaria.” Perfect snogging is making out, which the film steadfastly insists is all these prematurely nubile youngsters get up to. Hmmn.

Opens: July 25 U.K. (Paramount Pictures International and Nickelodeon Movies); Cast: Georgia Groome, Eleanor Tomlinson, Aaron Johnson, Sean Bourke, Alan Davies, Karen Taylor; Director: Gurinder Chadha; Screenwriters: Gurinder Chadha & Paul Mayeda Burges, Will McRobb & Chris Viscardi; Director of photography: Richard Pope. Production designer: Nick Ellis. Music: Joby Talbot. Costume designer: Jill Taylor. Editors: Martin Walsh, Justin Krish; Producers: Gurinder Chadha, Lynda Obst. Executive producer: Scott Aversano; MPAA Rating PG-13; running time, 100 mins.

This review appeared in The Hollywood Reporter.

 

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Orson Welles would applaud this ‘Mad Detective’

mad-detective x650By Ray Bennett

It’s already available on DVD, but I’ve been waiting for a chance to see “Mad Detective” on the big screen again since it was the surprise entry at the Venice International Film Festival last year.

The picture opens at the ICA in London today and I’ve already bought a ticket for tomorrow evening. Here’s how my review begins:

“Most really smart sleuths in crime fiction pick up on external clues, but the Kowloon cop in “Mad Detective” directed by Johnny To and Wai Ka-Fai, identifies villains by recognizing a person’s inner personality or personalities, as the case may be.

It’s a gift with serious complications because while his huge leaps of logic often lead to arrests, he loses grip of his mind and is fired from the police force. In the film’s taut, amusing and exciting story, he is brought back to help investigate the disappearance and possible murder of a fellow police officer.”

The film features a madly entertaining homage to Orson Welles’ ‘The Lady From Shanghai’

Read the full review

 

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KVIFF AWARDS: ‘Terribly Happy’ night for festival winners

Christopher Lee KV 2008 x650

By Ray Bennett

KARLOVY  VARY, Czech Republic – “We have a saying in England,” said Christopher Lee, ” Always take a woman by the waist and a bottle by the neck.”

Lee spoke as he clutched a Crystal Globe – a trophy in the shape of a woman holding aloft a glass ball – that was awarded to him for his outstanding contribution to world cinema on Saturday night at the closing gala of the 43rd Karlovy International Film Festival.

The impossibly suave and elegant 86-year-old actor said he had been to a great many film festivals but Karlovy Vary was the best by far. He praised the gathering for its focus on films that address “the heart, the mind and the soul.”

henrik-ruben-genz KV 2008 x325For once, many films that I liked actually won awards at a film festival.  A modern Danish Western, “Terribly Happy” was named best film in the official competition. The film, directed by Henrik Ruben Genz (left), took home the Grand Prix Crystal Globe.

A special jury prize was given to “The Photograph”, a story set in Indonesia directed by Singapore’s Nan T. Achnas while Russia’s Aleksey Uchitel (below) was named best director for his war picture “Captive”.

The best film award in the major sidebar East of the West went to Kazakhstan director Sergey Dvortsevoy’s “Tulpan”, which had won the top prize in Un Certain Regard at this year’s Festival de Cannes.

alexey-uchitel KV 2008 x325

Martha Issova (below) was named best actress for her role in the Czech film “Night Owls” and co-star Jiri Madl won for best actor.

Nikita Mikhalkov’s “12,” a modern Russian version of “12 Angry Man” that was nominated for a best foreign language Oscar, won the audience award and British director James Marsh’s “Man On Wire” was named best feature documentary.

Martha Issová KV 2008 x650

Special jury mentions went to Polish/Czech film “The Karamazovs,” directed by Petr Zelenka, and Hungary’s “The Investigator,” directed by Attila Gigor.

Actors Robert De Niro, Danny Glover, and Armin Mueller-Stahl were among those who received awards for outstanding contributions to world cinema long with Czech director Ivan Passer, who was chairman of the jury for the official competition.

A version of this story appeared in The Hollywood Reporter.

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KVIFF FILM REVIEW: Zhang Chi’s “The Shaft”

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By Ray Bennett

KARLOVY VARY, Czech Republic – In three bittersweet episodes, Chinese filmmaker Zhang Chi’s “The Shaft” observes the monotony and frustration of workers whose lives are defined by the coalmines that offer the only local employment.

Education alone provides the possibility of escape from the honest but hazardous work and the characters depicted grapple with their fate in various ways. While illuminating and poignant, the film lacks the cinematic originality that might win it attention beyond some festival showings.

In the first sequence, a bright young woman (Zheng Luoqian, pictured) chafes at the limited expectations offered by the mine but her ambitions make fellow workers suspect she is sleeping her way up the ladder. Her boyfriend, who accepts his lot of being a miner, fails to defend her when the jealous wife of a manager believes the false rumors. Sadly, the young woman contemplates accepting an offer of marriage from a man in the city.

Her brother, meanwhile, is not doing well enough at school to win a place at university but he is determined not to follow his father down into the mine. In the final sequence, the father is forced to retire at 60 and must come to terms with a body made weak by his job and a lifetime spent deep underground.

Venue: Karlovy Vary International Film Festival; Cast: Luo Deyuan, Huang Xuan, Zheng Luoqian, Li Chen; Director: Zhang Chi; Screenwriter: Zhang Chi; Director of photography: Liu Shumin; Production designers: Dai Yingying, Liu Huiming; Music: Guo Sida; Costume designer: Dai Hua; Editor: Chen Yong; Producers: Kang Jianmin, Hu Guipu; Production: China Film Association; Sales: China Film Association; No MPAA rating; running time, 98 mins.

This review appeared in The Hollywood Reporter.

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KVIFF FILM REVIEW: Michaela Pavlatova’s ‘Night Owls”

night owls x650

By Ray Bennett

KARLOVY VARY, Czech Republic – Czech filmmaker Michaela Pavlatova’s “Night Owls” (Deti noci) tells of a young woman who works the late shift at her family’s convenience store in Prague but dreams of a better life.

A familiar rite of passage tale told conventionally, the film offers likeable performances by its two young leads, Martha Issová (pictured) and Jiri Madl, but seems more suited to television in its home country. It’s not likely to travel very far.

Issova plays Ofka, a restless young woman who appears content dealing with the assorted and sometimes dangerous customers who come into the store in the middle of the night. She spends her free time partying with likeminded youths rather than pursuing more education as her former fellow students are doing.

Her regular companion, Mira (Madl), is a goofball whose complete devotion she either exploits or ignores according to her mood. The film follows their mundane exploits as they roam about in some of the city’s poorer districts at night.

The episodes are not especially adventurous but when Ofka finally runs into trouble, it’s Mira who’s on hand to help her out. Issova and Madl, who won the best acting prizes at the 2008 festival, are appealing but director Pavlatova doesn’t really give them enough to do.

Venue: Karlovy Vary International Film Festival; Cast: Martha Issova, Jiri Madl, Lenka Termerova, Jan Dolansky, David Novotny, Kristyna Novakova; Director: Michaela Pavlatova; Screenwriter: Irena Hejdona; Director of photography: Martin Strba; Production designer: Jan Novotny; Music: DelaDap; Editor: Tonicka Jankova; Producers: Katherine Cerna, Petr Oukropec; Production: Negativ; Sales: Bontonfilm; No MPAA rating; running time, 80 mins.

This review appeared in The Hollywood Reporter.

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KVIFF FILM REVIEW: ‘The Investigator’

investigator 2

By Ray Bennett

KARLOVY VARY, Czech Republic – Talky, quirky and full of inventive moments, Hungarian director Gigor Attila’s noir send-up “The Investigator” pitches a hired killer into a quest to discover the identity of the man he was paid to murder.

Played with a straight face to match the taciturn solemnity of its lead character, a pathologist, the film turns mystery yarns upside down and will please audiences who like their crime stories very dry and with a twist.

Anger Zsolt (left) plays Malkav, a stony-faced bald man with a goatee, who earns his living carving up dead bodies in the coroner’s department. The bodies arrive due to all manner of mishaps, some quickly sketched in director Gigor’s droll script. Efficient and respectful, Malkav not only sews up the corpses neatly after determining the cause of death but also applies makeup to ease the pain of whoever is required to identify the body.

He leads a solitary life aside from visits to his ailing mother and movie dates with a young waitress named Edit (Judit Rezes) who is amused by and tolerant of his obsessive-compulsive nature.

Malkav’s problems begin when he promises his mother that he will not let her die of the bone cancer that is killing her even though he lacks the funds for the Swedish clinic that could offer a cure.

When a mysterious one-eyed man with the inevitable name Cyclops (Zagoni Zsolt) offers a large amount of cash if he will bump off a complete stranger named Szirmal (Sandor Terhes), he decides to do it. Almost immediately, he receives a letter from the dead man saying that they share the same father and so Malkav sets out to find what happened and why.

Anger plays the pathologist with a patient man’s languor save for the quick eyes that miss nothing even if it takes him a while to understand. Gigor populates the tale with original turns on familiar characters and in Ildiko Toth, as the murdered man’s devious wife, he has a classic femme fatale.

The surprises come thick and fast and Gigor pulls off a very clever scene in which he creates the cinematic equivalent of the passage in a novel where the hero goes back over every character’s behavior and motivation. He puts the pathologist in a classroom with everyone, dead or alive, and lets them each suggest possible solutions to the puzzle. Mystery aficionados will love it.

Venue: Karlovy Vary International Film Festival; Cast: Zsolt Anger, Judit Rezes, Zsolt Zagon, Sandor Terhes, Ildiko Toth, Eva Kerekes; Director: Attila Gigor; Screenwriter: Attila Gigor; Producer: Ferenc Pusztai; Director of photography: Mate Herbai; Production designer: Sandra Stevnaovity; Music: Laszlo Melis; Costume designer: Beata Hoffmann; Editor: Zoltan Kovacs; Production: KMH Film; Sales: TrustNordisk; No MPAA rating; running time, 107 mins.

This review appeared in The Hollywood Reporter.

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KVIFF FILM REVIEW: Petr Zelenka’s ‘The Karamazovs’

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By Ray Bennett

KARLOVY VARY, Czech Republic – Fyodor Dostoevski’s classic Russian novel about four brothers divided by the murder of their father forms the basis of Petr Zelenka’s “The Karamazovs,” which is a film about a play based on the book.

In the film, a dramatization of the book by Evald Schorm, which has been successfully directed at the Prague Dejvice Theatre by Lukas Hlavica, is taken on the road to be staged at an unusual venue — a local steelworks at a town in Poland.

The actors and theatrical company arrive at the factory under a government grant and the action of the film shows a complete run-through of the play with only a handful of spectators. One of them, however, is going through a terrible personal drama that puts the whole question of art into perspective.

Setting a classic literary tale in a broken down industrial structure helps to underline the story’s exploration of family, faith and duty. Terrific performances by a fine cast flesh out the novel’s characters and blending in a present-day incident provides added resonance. Art-house audiences will give it a very positive welcome.

Czech legend Ivan Trojan (pictured, right, with Martin Mysicka) leads the ensemble as the father of the Karamazov brothers and gives an insightful performance as a man who manipulates his sons with considerable malice. David Novotny, as the actor playing eldest son Dmitri, who is accused of his father’s murder, is effective in and out of the play’s role, as is Radek Holub, whose part is the epileptic, mischief-making youngest son.

Lenka Krobotova as the actress playing Grushenka and Michaela Badinkova, as Katerina, match the men for strength and a good understanding of the twin nature of their roles.

Andrzej Mastalerz plays a maintenance man whose son has fallen from a platform in the factory and is near death in the local hospital. The man knows he should be with his son but, wracked with guilt, he becomes mesmerized by the story being staged at his place of work.

Director Zelenka and cinematographer Alexander Surkala make very good use of the machine works in the factory and the many nooks and hideaways available. Never losing sight of Dostoevski’s powerful statement about faith, the film raises significant questions about the complex relationship between art and its audience.

Venue: Karlovy Vary International Film Festival; Cast: Ivan Trojan, David Novotny, Igor Chmela, Martin Mysicka, Radek Holub, Lenka Krobotova, Michaela Badinkova, Roman Luknar, Andrzej Mastalerz, Adrianna Miara; Director: Petr Zelenka, based on the stage adaptation by Evald Schorm of the novel “The Brothers Karamazov” by Fyodor M. Dostoevsky; Director of photography: Alexander Surkala; Music: Jan A.P. Kaczmarek; Editor: Vladimir Barak; Producer: Cestmir Kopecky; Production: Prvni verejnopravni, CinemArt, Czech Television; Sales: Prvni verejnopravni; No MPAA rating; running time, 100 mins.

This review appeared in The Hollywood Reporter.

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KVIFF FILM REVIEW: Aleksey Uchitel’s ‘Captive’

captive x650

By Ray Bennett

KARLOVY VARY, Czech Republic – Shot in ferocious conditions and told with harsh economy, Aleksey Uchitel’s hard-as-nails little war picture “Captive” gives a pointed snapshot of how men in combat tend to extreme behavior.

High in the pitiless mountains of Chechnya, a Russian convoy is attacked by rebels and trapped. Soldiers at a nearby garrison are ordered to capture rebels to lead them through the woods and across the high ground to their stranded comrades. The film follows two of them as they take a prisoner on the desperate trek through hazardous conditions in dreadful weather with the enemy on all sides.

The matter-of-fact depiction of men in war with an undercurrent of homoeroticism puts a fresh face on familiar territory and the film will please audiences that like some gritty realism in their action entertainment. The cast and crew perform beyond the call of duty in relating a tragic episode in a chronic conflict that continues to drain Russia and its Chechen region.

With starved dogs at the ready, the troop runs down a rebel outfit and captures potential guides with seasoned veteran Rubahka (Vyacheslav Krikunov, pictured) efficiently nabbing a young man named Djamal (Irakly Mskhalaia). Back at the garrison, Rubakha eats quietly while his rifleman partner Vovka (Piotr Logachyov), a cheery soul who is catnip to women, beds one and scores a bottle of vodka.

Eager to find the convoy and reluctant to hand over their trophy, Rubakha and Vovka head out into the woods ahead of the rest. Soon, the torrid weather turns to severe rain and the threesome, one with his hands tied, realize they must rely on each other for survival. In the midst of the hardship, the veteran displays a growing affection for their handsome prisoner.

When they stumble upon the captive’s home village where a Russian soldier is imprisoned, a swap must be somehow arranged, presenting all three with major problems.

The acting is measured and taut, and the action is tense, especially in a long sequence in which the three men must clamber up a treacherous mountainside in a torrential downpour. It’s a scene that, like the film itself, sticks in the mind.

Venue: Karlovy Vary International Film Festival; Cast: Vyacheslav Krikunov, Piotr Logachyov, Irakly Mskhalaia, Yulia Peresild; Director: Alexey Uchitel; Screenwriters: Vladimir Mekanin, Timofey Dekin; Producer: Alexey Uchitel; Director of photography: Yury Kleimenko; Production designer: Andrey Vasin; Music: Leonid Desiatnikov; Costume designers: Galina Deyeva, Mark Lee; Editors: Yelena Andreyeva, Gleb Nikulskiy; Production: Rock Films. Sales agent: Rock Films (Russia); No MPAA rating; running time, 80 mins.

This review appeared in The Hollywood Reporter.

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KVIFF FILM REVIEW: Ed Gass-Donnelly’s ‘This Beautiful City’

By Ray Bennett

KARLOVY VARY, Czech Republic – Stark and inventive, Ed Gass-Donnelly’s “This Beautiful City” compares and interlinks the lives of a middle-class couple and a pair of down-and-out drug users all suffering from inner-city angst.

Boasting superior performances by a committed cast topped by the exceptional Aaron Poole and Caroline Cave, who won the big prizes at Canada’s ACTRA Awards in February, the film is contrived but powerful. A mood of underlying dread gives each scene extra tension and its gritty portrait of how urban life at all levels can ground people down is striking. It could do well if it’s steered towards audiences that respond to edgy and tough-minded dramas.

this-beautiful-city x325It’s not entirely clear what director Gass-Donnelly, who also wrote and edited the picture, has against Toronto specifically. The problem is probably just any big city where gentrification results in strange neighbors and stranger behavior.

Harry (Noam Jenkins) and Carol (Cave) are well off but lead parochial and suffocating lives that leave Carol increasingly frustrated. One evening, standing on a chair on the balcony of their apartment, she loses balance and plunges to the ground many feet below. Ignored by the first people who spot her, druggies Johnny (Poole) and Pretty (Kristin Booth), she is helped by troubled police officer Peter (Stuart Hughes) and rushed to hospital.

Cut to three months later with Carol back on her feet with a bad limp and no happier in her marriage. Peter has been put on medical leave from the police force as he’s distracted by his search for his missing daughter. Johnny is caught up in the murder of a drug dealer while Pretty turns tricks for her latest score and a chance encounter with Harry leads to an odd sort of friendship.

Gass-Donnelly’s script has several surprises in store as the film progresses and while in the end they are not totally unexpected nor entirely convincing, they are gripping. He draws stunning performances from his cast with Poole and Booth going to selfless lengths in portraying desperately lost souls.

Cave delivers a star-making performance as a beautiful and imaginative woman who finds escape from a stultifying life only by putting her life at risk. The anguish in her intelligent eyes caused by competing emotions is rendered subtly but unforgettably.

Venue: Karlovy Vary International Film Festival; Cast: Aaron Poole, Caroline Cave, Kristin Booth, Noam Jenkins, Stuart Hughes; Director and screenwriter: Ed Gass-Donnelly; Producers: Ed Gass-Donnelly, Lee Kim, Aaron Poole; Director of photography: Micha Dahan; Production designer: Rachel Ford; Music: FemBots; Costume designer: Rachel Ford; Editor: Ed Gass-Donnelly; Production: 3-Legged Dog Films; Sales: Seville Pictures; No MPAA rating; running time, 87 mins.

This review appeared in The Hollywood Reporter.

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KVIFF FILM REVIEW: Henrik Ruben Genz’s ‘Terribly Happy’

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By Ray Bennett

KARLOVY VARY, Czech Republic – Set in an insular community on the windswept plains of southern Denmark, Henrik Ruben Genz’s “Terribly Happy” plays like a modern-day Western with a solitary lawman squaring off against corrupt townsfolk.

It’s a crafty piece of work with escalating tension as the naïve and troubled new marshal learns that the locals prefer to take care of lawbreakers in their own way, which usually involves the quicksand at a nearby bog.

The film’s sly use of characters that bring to mind old Westerns combined with a plot that becomes increasingly more of a horror picture could carry it to some success on the art-house circuit.

Jakob Cedergren plays the new cop in town but the secret is soon out about his recent incarceration in a psychiatric ward after threatening to shoot his errant wife. The town’s doctor, preacher and merchant go out of their way to make the newcomer step softly and accept that there are matters he should not be concerned with.

But when an attractive and flirtatious blonde (Lene Maria Christensen) complains that her womanizing and heavy-drinking husband (Kim Bodnia) beats her, the by-the-book officer is drawn into a situation it would be best to avoid.

Genz and cinematographer Jorgen Johansson establish the mood of the film effectively from the start helped by Kara Bjerko’s twangy music. Cedergen captures the bemusement of a city boy new to the provincial ways of the outpost in the country’s South Jutland region while Christensen and Bodnia make a deceptively complicated pair.

The film gets seriously weird as it goes along but without losing its sense of direction or taste for offbeat humor. The Western theme plays out cleverly and there’s a neat substitute for a gunfight as the two main adversaries square off in a bar downing boilermakers.

Venue: Karlovy Vary International Film Festival; Cast: Jakob Cedergren, Kim Bodnia, Lene Maria Christensen, Lars Brygmann; Director: Henrik Ruben Genz; Screenwriters: Henrik Ruben Genz, Dunja Gry Jensen, based on the novel by Erling Jepsen; Director of photography: Jorgen Johansson; Production designer: Niels Sejer; Music: Kaare Bjerko; Editor: Kasper Leick; Producer: Thomas Gammeltoft; Production: Fine & Mellow; Sales: Nordisk Film; No MPAA rating, running time, 105 mins.

This review appeared in The Hollywood Reporter.

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