20,000 Days on Earth (2014)

Written for RAF News September 2014

A conceptual music documentary that follows Nick Cave on the supposed 20,000^th day of his life as he reflects on the past and ponders the meaning that he finds in performance.

Through a number of constructed set-pieces, the film frees itself from the duty of capturing authenticity and presents instead something more fitting of the Melbourne-born, now Brighton-based performer. And though Cave has many strings to his bow by way of his music, poetry and writing, he says that he can’t act. Perhaps it is this quality that gives the film a sense of realism without the need of shaky hand-held cameras.

Interviewed by a psychoanalyst on a set, under lights too bright, Cave remembers his father and reveals his biggest fears, namely: losing his memory. This set-up – a staged performance – is fitting of Cave, managing however to capture an honesty, which also explains the purpose of this documentary. The film seems to be an attempt for Cave to capture the past, to reflect on his purpose in performance, or in life perhaps, all captured in this dreamlike construct that appears at once self-aggrandising and self-aware – a humorous angle on the inevitable pretension that usually follows an artist talking about their art.

The fictitious day in which Cave journeys into the past and has happenstance meetings with old friends (Ray Winstone, Kylie Minogue among them) whilst driving his black Jaguar XJ, is fitting of the performativity that Cave talks about so passionately. At one point he reads from an old diary that contains rants about the weather of bleary old Brighton. He says of these writings that they are based on truth but ultimately a lie; a dramatisation. Following this, it seems that the film too is fantasy. One which is personal enough to reveal his thoughts on the transformative power of performance, but without ridding of its potency or tarnishing the image that he has come to embody.

A little more arty and knowingly contrived, the film playfully subverts the typical fly-on-the-wall music documentary, managing to create something more self-aware and yet somehow more sincere.

September 24, 2014 2

The Amazing Spiderman 2 (2014)

Written for RAF News April 2014

The Amazing Spiderman 2 sees the alliance of vengeful enemies, this on top of the continued unravelling of Parker’s family secrets and a complicated relationship with forbidden love Gwen Stacey (Emma Stone) but first.. graduation. From the off we are shown that juggling the social life of awkward and anxious Peter Parker against the wise-cracking Spiderman has its complications and are becoming near impossible to keep separate.

Garfield’s Peter Parker is a little more comfortable in himself since the first instalment though he certainly still shows signs of a neurotic, angsty young-adult. He can sometimes come across as conceited and slightly unlikeable, which is understandable really for a superhero.

Whilst Spidey is not without his faults, his soon-to-be enemies are acquaintances who seem to have their own psychological problems – their grudges spawning from their own fears and insecurities. Max Dillon (Jamie Foxx) an electrical engineer for Oscorp feels overlooked and unimportant: the faint whisper of the voice in his head accompanies pangs of social anxiety. This is until an accident leaves him with the ability to control and contort electricity, leading him to discover that creating chaos is rewarded with attention.

Initially idolising Spiderman for saving his life and actually acknowledging him when he was the humble Max Dillon, the now literal electrical engineer Electro has a sudden change of heart. Although Electro brings with him a cinematic presence his motive appears misplaced and sudden, feeling more like a connector to the far darker villain Green Goblin.

Dane Deehan’s descent from Harry Osborn the old school friend of Parker to the monstrous Green Goblin is commanding. A twisted performance that stems from Osborn’s fear of death upon discovering that he has a genetic disorder. As his illness takes over the threat becomes more horrific than spectacular, unlike Electro. The lighter, more comedic tone that the film invites can be misleading at times during these sudden plunges into darkness.

With so much going on Peter Parker seems to struggle with where his focus should be and where his priorities lie – just like the film which seems to spread itself thin and spend too much time away from the compelling characters and storylines.

April 16, 2014 0

Pioneer (2014)

Written for RAF News April 2014

Based on the events that took place in the early 80s, when huge oil deposits were discovered in the North Sea, we follow the team comprised of competing Norwegian and American divers who must build a pipeline at never-before reached depths. pioneer Determined Norwegian diver Petter (Aksel Hennie) and his machismo brother must work with a team of Americans who are in on the deal. Joined by a competitive American diver (Wes Bentley) they undertake a series of tests and trial dives. The initial test involves undergoing pressure changes whilst under an anaesthetic gas – soon revealed to cause hallucinations. So when his brother is involved in a fatal accident during the first test dive, Petter is plagued by uncertainty as he aims to find the cause of his death and the truth behind the gas formula concocted by the powers above.

Pioneer takes on the style of a 70s American political thriller with slowly unfolding conspiracy dragging Petter into the depths of paranoia. Director Erik Skjoldbjærg’s debut film Insomnia (remade by Britain’s own Christopher Nolan) built tension through paranoid hallucinations – but clearly favouring the style of the political thriller these delusions are disappointingly reduced to a few subtle tweaks in Pioneer.

It is the subtlety and slow pacing that seem to unite the Scandinavian style of cinema with classic American thrillers such as The Conversation – which Skjoldbjærg states among others as a major influence. The underwater scenes serve perfectly as an extension of the slow tension building pace. With beautiful use of scale and light Petter clings to his ‘umbilical cord’ that keeps him from being engulfed by the black abyss of the North Sea.

Despite the aesthetic accomplishment of these scenes, and the masterfully crafted score which communicates the claustrophobia and pressure of the environment, the understated drama plays out for the most part above water. As a result the film lulls between dives – ultimately detracting from the drama at the heart of the story.

April 15, 2014 0

Written for RAF News Dec 2013

Walter Mitty (Ben Stiller) is surrounded by Life: a magazine that features the awe-inspiring majesty of nature. He works in the basement however, processing the negatives of these photographs – glimpsing beauty but never truly experiencing it. The closest he gets to experience anything notable is in daydreams that transport him to a world in which he is able to steal the attention of his office crush Cheryl (Kristen Wiig). A world in which he can jump through the window of a burning building to save her three-legged dog.

Walter’s realised daydreams bring huge scale fantasies into the mundanity of his real life. But when he misplaces a negative from renowned photographer Sean O’Connell (Sean Penn) that is said to capture the quintessence of Life, Walter sets out into the wild to track him down and save his job – trading fantasy for true personal experience.

As director Stiller showcases his familiarity with different comedic styles: the fantasy sequences allowing for the scenes to take on different tones from slapstick to parody. Wiig also demonstrates her well-practiced character acting as a former cast member of hit American sketch show Saturday Night Live. Together they have a natural dynamic but this is used very scarcely as Walter flees to Europe alone. It would seem as though the romantic interest is abandoned half way through the film but it becomes clear that Walter’s journey is more about self-discovery.

Tracking Sean from Greenland to the Himalayas, sweeping shots and wide framing revel in the grand scale of these picturesque locations. Accompanied by an ever-inspirational soundtrack, and alongside the odd drop into fantasy, The Secret Life of Water Mitty can at times feel like a series of trailers but it certainly never slows down enough for you to lose interest.

December 26, 2013 0