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Posts Tagged ‘The Guest’

February

‘Kingsman: The Secret Service’ (Matthew Vaughn, 2015) 

Long may the Matthew Vaughn/Jane Goldman dreamteam continue, here to be as anarchic, provocative and shamelessly juvenile as they can get away with! It’s thirty minutes too long, the villain(s) never quite work and half the audience will be gone by the end, but it’s a funny, uninhibited picture with some audaciously batty sequences (Colin Firth church massacre!) and no seeming interest in courting the sort of broad audience required for further sequels. Vaughn seems incapable of taking filmmaking particularly seriously. He’s just pissing about. I like that. 

‘The Guest’ (Adam Wingard, 2014) 

I completely flipped out for Wingard’s last film You’re Next, so it’s great to see him build on that promise with another tight, genre-literate and unfailingly entertaining thriller. He’s one of those guys just waiting to hit the mainstream circuit and crush a bigger project. Dan Stevens was linked to Fox’s Escape from New York remake recently. Someone get Wingard on that job! He’s here with ultra-violence and black humour to save us from a generation of vanilla hackery! 

‘Jupiter Ascending’ (The Wachowski’s, 2015) 

Inconsistencies, faults and all, I’ve a lot of respect for what the Wachowski’s try to do with their work. There’s so much heart and such unabashed pursuit of their interests (exploration of identity/self-discovery/magpie-mythology /mad action), it’s hard to dislike them as filmmakers even as they wave goodbye to the latest chunk of studio money with an overbudgeted underpeformer whose failure was visible from years away. I really wish I liked Jupiter Ascending more than I do. Channing Tatum as a surfing wolf-merc, Sean Bean as a human/bee hybrid, nutty world building and bonkers design; it’s the stuff cult is made of (re: Chronicles of Riddick), inert storytelling and lack of momentum sadly holding an otherwise enthusiastically mad project back from triumph. They’ll come crawling back to the Matrix franchise in the end of course, in the way of a defeated army seeking refuge on familiar territory, but for now I suppose I can’t help but admire their steadfast refusal to play by the rules. 

‘Selma’ (Ava DuVernay, 2015) 

I watched Selma in the aftermath of the almighty stink kicked up by its general exclusion from awards season. There seems to be a wide critical incomprehension over how the likes of The Imitation Game and The Theory of Everything slipped into so many categories at the expense of DuVernay’s movie, views I wholeheartedly agree with when it’s clearly a sharper, more relevant picture than those two dry, awards-friendly biopics. Through its exclusion, Selma provides a useful role in awards-season commentary, highlighting the ongoing diversity-issues at the Academy and their never-ending commitment to acknowledging ‘worthy’ prestige pictures and obviously awards-friendly performances over films with real grit and purpose. DuVernay’s picture is marvellous, its omission shining a bright spotlight on its qualities. David Oyelowo is unshowy, chameleonic and flat-out extraordinary as MLK, complimented every step by DuVernay’s assured, confident direction. There’re no sweeping cameras and big score, this is historic document pitched down at dirty, cheap street-level, crawling through the shit with the activists. Perhaps too raw for the Academy.

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