Film Review: Holy Motors (18), (France/Germany 2012)(French, English & Chinese with English Subtitles) (Director: Leos Carax), Friday 28.09.2012 20:30, The Filmhouse, Screen Three, Edinburgh

I went to see this as understood it had caused quite a stir when shown at film festivals. I was further intrigued by finding out that it was made by the same director who made 'Les amants du Pont-Neuf' (1991), and both films share the same lead actor, Denis Lavant.

The film shows an actor being driven to various different acting jobs in one day and the acting he does, and then being returned home to his family of chimpanzees. It does become very unclear whether the time spaces traveling between acting jobs are rest time or jobs in themselves, or whether the driver is also performing in some of the same acting work. The action is preceded by an image of a cinema audience asleep and the films director waking up, going through a door and walking to stand over the sleeping audience. Within the time spent with the lead actor, there is more than one occurrence where he is portraying more than one being, the significance of this is never touched upon and therefore adds further confusion. Each of the acting jobs appeared to be presented as small vignettes. The actor enters, performs and leaves, with no requests to go again or anyone saying cut. Each of the acting jobs appears quite odd, though then we have no context to try understand. This also feels very strange as from what I understand an actor would not have a day of going between nine differing acting jobs, and for this to be set up so he could just go from one to the next. The film lands up becoming an odd collection of quite random bizarre scenes following one after the other.

There was also images used which were quite clearly to just generate controversy. There was no need to have cloth assembled on Eva Mendes to appear as a burka. This being a film from France where the burka is a controversial clothing item due to how French politics has tried to relate to it, makes this use so obviously to stir opinion as to make the use appear infantile. I also have no desire to see a naked Denis Lavant supposedly in the Parisian sewers with his crooked erect member. Though also having Kylie Minogue commit suicide after singing a dreary ditty I found mildly amusing.

The scene of the actor shooting motion capture appeared as though it could be interesting, until it is shown that the performance is being transferred into movements of sexualised serpent creatures, the kind of which a young neardy teenage boy may have on his black bedroom wall, at which point it just appears laughable.  There was only one scene I particularly enjoyed which was about mid way through when a group of accordion players perform while marching around a cathedral.

I had earlier in the day heard the film critic Mark Kermode say that he understood the director's intention had been for it to be a warning against the modern age's over reliance upon technology. From watching the film, I have no idea how this could be seen from what is portrayed. Though then it is hard to have any idea as to what the film is about. I don't think it is about the detachment of the actor have to inhabit the character of others, as there was nothing shown of how the actor's day-to-day life was affected. I genuinely do not feel there was any understanding to be had from the film. It was baffling and muddled, though not confusing in a good way a la David Lynch. I would not recommend this to anyone, and anyone who claims it is great, as some have, I would say that they are being pretentious. The rating given is solely a reflection of the accordion scene.

Rating: 01/10.

BOB DYLAN: TEMPEST 10.09.2012

Album Review: Bob Dylan (U.S.A.), Tempest, Released: 10.09.2012, Label: Columbia, Available on Double Vinyl (Comes with 'free' C.D. Version), C.D., C.D. Deluxe & MP3 Download Album. 

Track Titles noted in bold, I feel to the be the best tracks on the album.
Tracks:
1.) Duquesne Whistle; very jolly, upbeat and rolls along nicely.
2.) Soon After Midnight; very beautiful, lovely restrained piece.
3.) Narrow Way; more gruff, perfectly serviceable.
4.) Long and Wasted Years; passes gently.
5.) Pay in Blood; very pleasant.
6.) Scarlet Town; classic brooding Dylan, with a touch of menace.
7.) Early Roman Kings; poorer, repetitive chugging tune, a dip after the quality of Scarlet Town.
8.) Tin Angel; from the off sounds like classic Dylan. The song stands up to comparison with the best of him.
9.) Tempest; the one about the sinking of the Titanic, which would usually make me recoil in horror, though is it is quite beautiful.
10.) Roll on John; the one about John Lennon, so I'm not disposed to be favorable, due to the subject matter. More aggressive than the previous piece, not as pleasing, though still perfectly listenable.

The six track tracks I have highlighted as being the best songs, I would regard as being of a very high standard, and up with Dylan's best. As it is six out of ten as far as tracks go, and it is not eight of them or the full ten, I don't feel it is fair to say as some have that the album is up with Dylan's very best work, I have heard comparison with 'Blonde on Blonde' and 'Blood on the Tracks'. Having said this I do feel it is a very good album, and it may be reasonable to say it is best since the seventies.

Rating: 09/10. (Purchased on Vinyl).

Film Review: Beetlejuice (15) (U.S.A. 1988) (Director: Tim Burton), Thursday 13.09.2012, 21:00, The Cameo Cinema, Screen One, Edinburgh

It had been quite a number of years since I had seen this film and there are parts I had not remembered that well. I had always remembered this  film as having been my first proper introduction to the music of Harry Belafonte (Day-O, Jump In The Line), and had always had a soft spot for him from then. What I had not realised is that there are several other Harry Belafonte songs playing quietly in the background throughout the film.

I had also remembered this film being as being the starting point of my adolescent crush on Winona Ryder, though I had remembered her part as being less substantial than it turns out to have been. I am now also sure that it was seeing Winona Ryder vertically levitating while being possessed to have Harry Belafonte's 'Jump In Line' come out of her mouth, while doing dance moves with the ghosts of American Footballers, that sealed my crush. Even now, over twenty years after first seeing it, I find the sight of this very appealing.

The film is very over-the-top, without any sight of restraint. Gina Davis and Alec Baldwin are decent as the newly deceased, and Michael Keaton is the essence of redneck hustler as the exorciser of the living. The film has several laugh out load moments, including when a dog steps off a piece of wood to cause a car to plummet into into the water causing the couple of Gina and Alec to die, though overall the film is more weird than laugh-out-loud funny.  

I had gone to see this as had never seen at the cinema and it is a film that I feel very fond off, due to how it affected me when I was younger and first seeing it. I realise it is difficult for me to have distance from the film to try to be critical of it, due to the connections I am aware of between the film and my recollections of childhood. So I will leave the notes there...

Rating: 08/10.

Film Review: Tabu (15), (Portugal/Germany/Brazil/France 2012) (Portuguese with English Subtitles) (Director: Miguel Gomes), Wednesday 12.09.2012 20:30, The Filmhouse Screen One, Edinburgh (2nd viewing on Monday 17.09.2012 Filmhouse Screen One, Edinburgh) (3rd viewing on Sunday 11.11.2012 15:15, The Filmhouse Screen Three) 

This is a film that is presented in the 4:3 'Academy' aspect ratio of the very earliest cinema, in black and white with particularly sharp contrast, and is told in two distinct halves. The first half concentrates on two aging neighbors in modern day Lisbon, and to my mind focuses on the importance of kindness and companionship. One of the neighbors health is ailing and it is assumed she is becoming cognitively compromised. She makes a request for a male to be contacted, whom it is clear her neighbor and maid have never heard of. It is while the male is being driven to the hospital, that the driver is notified that the elderly lady has passed away. After the funeral the male and the neighbor go for coffee and the man begins to regale as to how he knew the lady.

The film then slips easily into the second half, and from 35mm to 16mm and into the setting of colonial Africa. There is no dialogue in the second half, though the man reflecting is providing narration. The tale is told simply, though is very clear in explaining the passion that the man and woman had for each other. Added to this is that she was married, so there were complications and clandestine arrangements, not just a straight forward relationship. The presentation of the narration to dialogue free footage is a creative though realistic presentation, as is how reflections from distant past tend to work.

The second half speaks of the creative and destructive nature of love. As well as, in connection with the first half, the honoring of requests and the importance of trying to not make assumptions about people, even those you feel to know quite well. It also reminds that it can be quite normal for people to have significant parts of their lives not known to others.

It has a calm economic charm in how the tale is told and visually it sizzles. The film is a masterpiece of staggering beauty and wonder. I have already found myself saying to others that I reckon in years to come, this may well be heralded as one of the all time great films.
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I went for a second viewing due to having been so impressed on first viewing. The very beginning of the film I found made more complete sense the second time around. In the second part of the film, which is narrated without dialogue to scenes representing colonial African times, I was able to focus more on the visual palate due to not having to focus as much on the subtitles. This allowed greater appreciation of the visual aspect to the film, which I had already taken to be extraordinary. It is literally without any visual comparison that I'm aware of. I would be surprised if anyone came away from watching it without feeling charmed.
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The third viewing was at a free screening, which I had managed to get quite a few folk to come along to. The films charm I find to be undiminished with this third viewing. There were still elements to do with the telling of the story that I was picking up on for the first time - subtle elements to do with what is in the frame and left unspoken. Of particular note this time was the gorgeous high-contrast cinematography, in the first half, and even more so the second. A further element of the film that is subtle, though exquisite.

After only the third viewing, I feel I am prepared to state this as being one of my all time favorite films. I'm struggling to think of a more visually stunning piece.

Rating: 10/10.
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2012: Seven Flawless Films To Date In Order Of Release:
Magic Trip (Documentary)
Once Upon A Time In Anatolia (Turkish) 
Goodbye First Love (French)
The Dark Knight Rises
Searching For Sugar Man (Documentary) 
Anna Karenina
Tabu (Portuguese) 

Film Review: Anna Karenina (12A) (U.K. 2012) (Director: Joe Wright), Sunday 09.09.2012, 18:15, The Cameo Cinema, Screen One, Edinburgh

The third of the films to come from Joe Wright and his leading lady of choice, Keira Knightly, after 'Pride & Prejudice' (2005) + 'Atonement' (2007), and the high quality level I feel to have been maintained. The book I have not yet read (do intend to), though understand it to be regarded as a sprawling classic, which has been able to be streamed into a lithe running time of 2H 10Min.

I see little point in saying anything of plot other than the film centres around a tale of tragic love, with a lady of high society choosing her lover over husband and child, and how the society she moves within, the rich and titled of Russia of the early 20th Century, treat her as a leper, ultimately leading to her tragic demise.

The film has many exemplary aspects. The sets and costumes are lavish and sumptuous, the editing is breathtaking as is the pacing in the early parts of the film, then moving to lurching as Anna's emotions become more despondent when ostracised. The conceit of it being, for the most part staged within a theatre, is used with great imagination and ingenuity. The film has a great sense of theatricality, without feeling to be theatrical. There was not a single performance I could mark out for criticism. Of particular note was Matthew Macfadyen as Anna's brother, who appear to embody the role with great relish.

There is also a sex scene where nothing of note was shown clearly on the screen, I had the sense that this was presented with very purposeful restraint. How refreshing. This was preceded by a kiss that felt to more sensual and explicit than the sex scene, and caused a quickening flutter. I had wondered whether this was a comment on the culture, society and time of the films setting (what must be kept from view, and therefore what activities are allowed to show heightening passion)? Regardless I found this a notably visually ravishing and striking passage in the film (not that other passages were not visually arresting), which I felt was purposely heightened by how it was portrayed.

After viewing, I was left thinking, 'was that flawless'? I think that the question was rooted in the matter that none of the central characters felt to be utterly redeemable. The characters, across the board where conveyed with sufficient complexity, that a sense was left that none of them were able to be seen as good or bad. This can make it harder to come away feeling giddy, though is ultimately more satisfying. I suspect the film would reward more than one viewing, as is so dense (you have to pay attention) that I think it would take more than one viewing to pick out aspects of the film.

Rating: 10/10.
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2012: Six Flawless Films To Date In Order Of Release:
Magic Trip (Documentary)
Once Upon A Time In Anatolia (Turkish) 
Goodbye First Love (French)
The Dark Knight Rises
Searching For Sugar Man (Documentary) 
Anna Karenina 

Film Review: Lawless (18) (U.S.A. 2012) (Director: John Hillcoat), Sunday 09.09.2012, 15:30, The Cameo Cinema, Screen One, Edinburgh

This is a film scripted by Nick Cave and concerns the practice of bootlegging in the U.S. of A. in the early 20th century. It is the same writer and director combination as behind 'The Proposition' (2005), which when I got round to being able to see, I found to be fairly dreary.

In other reviews I've read, there is criticism of Tom Hardy's vocal performance. This strikes as lazy, as I found it perfectly acceptable and understandable (precisely the same criticism and rebuttal as regarded his performance in 'The Dark Knight Rises' (2012)). I think it has become the latest fad to hand out the same criticisms in regard to his work. Not that I think he is flawless - anyone who would connect themselves with the horse-shit that was 'This Means War' (2012), has questions to answer. Shia LaBeouf managed not to irritate as he usually does. Gary Oldman had so few scenes that it was hard to tell how good he was in his part. Guy Pearce was a cartoon baddie, and quite two-dimensional. Mia Wasikowska was not in the film for much, though did impress as the innocent that provides temptation for Shia.

The soundtrack provided the cheeky charm of the likes of the Velvet Underground's White Light/White Heat being performed in a bluegrass style. Sadly though the negatives outweighed positives. The story, plotting, staging, editing, frame composition and lighting offered nothing new. Does it not strike as lazy that what it takes for the community to come together against the baddie is their killing of the local disabled boy.

I was left with a thought of 'why bother to make such a film'. It was so mediocre, that it it would be difficult to find offensive as not dreadful in any way, though also I found had nothing to recommend. I think the combination of Hillcoat & Cave, may not be as potent as they appear to think it is. to I you have a particular thing for hicks, this may be up your street, otherwise don't bother.

Rating: 04/10.

Film Review: Suspiria (18) (Italian 1977) (Director: Dario Argento), Saturday 08.09.2012, 23:30, The Cameo Cinema, Screen One, Edinburgh

This is a film I had seen before, had been very impressed by and wished to see on the 'big screen'. The film concerns a German dance school, whose pupils are tormented by a coven of witches that are secretly based there. I understand it to be an example of 'Giallo', a sub-genre of Italian Horror that was particularly associated with the 1970's. Some also feel this to have been one of the big influences along with Powell and Pressburgers 'The Red Shoes' (1948) upon 'Black Swan' (2011).

I have only seen three off this director's pieces so far, and this is the first and best of those I have seen so far. The film that is felt to be his masterpiece 'Tenebrae' (1982), is one of the others I've seen and was not impressed. It had gaping plot holes. It is not as though Suspiria can be accused of not having this fault, though it does not try to tell it's tale in a realistic realm.

The staff at the school are grotesques including a deformed Hungarian handyman/waiter, and the pianist who is there to accompany the students is blind. The pianist lands up being banished, due to his dogs behaviour. His dog then turns on him. The students are meant to appear to be innocent.

The decor/colours of the school and the flat of one of the students, is odd and gaudy in an intriguing way - fascinating to look at, though to spend time functioning within I suspect would affect your mental health. The ambient audio is quite extraordinary and unsettling, with sound quite unlike anything else. It is the affect of these elements that are more noticeable in the cinema environment.

It is the new student arrival from the U.S.A. who is more inquisitive, discovers what is going on and deals with it. I would describe the film as truly deranged and demented, and for a visceral experience of sight and sound it is very impressive and affecting. I would recommend it, though make no apologies for how bizarre it is.

Rating: 09/10.

Film Review: Frenzy (18), (U.K. 1972) (Director: Alfred Hitchcock), Saturday 08.09.2012 18:15, The Filmhouse Screen Two, Edinburgh

Of the twenty Hitchcock films that I have seen, this is easily one of my favorites, therefore I took up the opportunity to see it on the 'big screen'. It is not a film that I find to hold particular menace or suspense. It is a very working class London film in the tone and manner of some of its central characters. The central crimes are referred to as the neck-tie murders, though as always the perpetrator becomes rash and sloppy. There is an opportunity for the perpetrator to frame a 'mate' who is being wrongly suspected.

This film, as a Hitchcock film appeals to me because there are; scenes of very restrained British humour, the criminal is an appropriate mix of sleaze and superficial-charm, other characters are slippery, Bernard Cribbins as the pub landlord is quick to get his dander up and the central victim/wrongly accused is the archetypal wrongly judged decent chap, in the wrong place at the wrong time, just trying to get by.

The film in terms of quality of film-making is not a match for the likes of psycho, vertigo, north by northwest or strangers on a train, though it it has a grubby charm that none of his finest films possess. It is hard to take the piece seriously, though is a fun telling of a yarn.

Rating: 08/10.          

Film Review: Red Desert (Remastered) (12A), (Italy/France 1964) (Italian with English Subtitles) (Director: Michelangelo Antonioni), Friday 07.09.2012 20:30, The Filmhouse Screen Three, Edinburgh

I went to see this as I had greatly enjoyed 'Blow Up' which Antonioni had made shortly afterwards, and I knew Red Desert was regarded as his masterpiece.

The film centred around the housewife (Monica Vitti) of an industrialist, and what appeared to me to be her narcissistic neurosis. I say 'what appeared to me' as this is not something I have noted being mentioned in any other review of this film that I have read. The difficulty with these as central characteristics of the main character, is that it makes it very difficult to warm to her. I did not feel any of the other characters to be particularly sympathetic either.

The audio soundscape felt jarring, and the pace plodding. The film felt maddening, though perhaps that was a point of it. Towards the end the central character notes that the smoke coming from the factory/chemical plant is yellow due to being poisonous, and this is why birds do not fly through it. This then leads to questions, are the male characters too close to/occupied by the polluting environment to see the dangers, and  has she got too much spare time on her hands, leading her see dangers as greater than what they are. It did not feel to be a particularly enjoyable film, and I don't view it as being as good as 'Blow Up'.

Rating: 05/10.

Film Review: Sound Of My Voice (15), (U.S.A. 2011) (Director: Zal Batmanglij), Monday 03.09.2012 20:15, The Filmhouse Screen Three, Edinburgh

This is a film I took a punt on, not knowing much about it beforehand. In retrospect it is a punt where I know wish I knew more beforehand. Had I realised it was written by and staring Brit Marling, who had the same credits for 'Another Earth' (which I had no interest in seeing), I would have probably steered clear.

The film has three central characters, a male/female couple who are covertly filming for a documentary to expose the bizarre behaviour of a cult leader, and the cult leader herself. The twist of the film being that the cult leader claims to come from the future. Within the couple argument arises with one feeling the other is falling for the cult leader & beginning to believe them. Then police become involved, speaking with the less susceptible member of the couple about the dangerous and fraudulent nature of the cult leader.

Brit Marling confuses her own beauty for charisma as the cult leader. There are odd statements made without explanation about 'her not being able to eat food from this time frame' and other such nonsense. There are scenes that appear to have no relevance to what appears to be going on. The behaviour of the cult members become literally laughable. The plot has too many elements to be explored in its short running time; only lasts 85min, thank goodness. The film appears confused and lacking direction. A pointless film without redeeming quality. Utter Tosh.

Rating: 0/10

Live Performance Review: Batsheva Dance Company: Hora (Edinburgh International Festival (E.I.F.) 2012), Saturday 01.09.2012 19:30 The Edinburgh Playhouse, Edinburgh 

This was not a dance performance. It was music and movement, though it was truly remarkable. I am aware this may well sound pretentious, though the performance was anything but. There is no way of describing in a way that would do justice, though I'll give it a bash.

Eleven stunning specimens on the stage, five men and six women, doing what appears to be repeated free-form movement, which then effortlessly slips into complexly synchronised and pulsatingly rhythmic movement on a loop. The set was simply a box with a bench at the back for the performers to rest upon and obviously the forth wall missing; the performers were trapped. The lighting was simple though breathtaking enabling varying definition of the performers. The audio that accompanied was in parts: odd, ambient, thunderously familiar (Wagner's The Ride of Walkyres) and cheeky interpretations (John Williams Star Wars Theme).

This was unlike anything I have seen before. I was grinning from ear to ear for most of the performance and for a time having to stifle laughing. Sometimes when something is so good, I have the urge to laugh. I would regard this as having been abstract, beautiful, baffling art of the highest order. This is quite possibly the finest visual performance I've ever seen, I am stunned by how excellent it was. The cumulative effect was shivers and the verge of tears. For essentially movement to provoke this response I consider to be astonishing.

Thanks to E.I.F. 2012, I have now seen/heard two performances, that have been so exceptional, that it would not be appropriate to give a rating. I feel blessed (in a non-religious sense) to have witnessed this.

Live Performance Review: Mariinsky Ballet: Cinderella (Music Director & Conductor Valery Gergiev)  (Edinburgh International Festival (E.I.F.) 2012), Saturday 01.09.2012 14:30 Festival Theatre, Edinburgh

This was undoubtedly a fine performance, with the principal ballerina of the piece and the head evil sister being of particular note. The evil sister displaying a mischievousness in her movements, and Cinders being the  embodiment of grace, poise and elegance.

The performance was in three sections. All though all were good, I preferred the middle part. It was this part that contained the most of it just being the the lead male and female. These sections were more satisfying for me as assist with enabling greater focus on the movements of the lead dancers, and not feeling a desire to flit from observing sections of at times a fleet of dancers. Though this being Cinders you know you are going to get some scenes where there are many performers on the stage. With the wicked sisters there were a couple of moments where it felt almost pantomime with their performance.

I don't feel able to find fault with the orchestra, and all in all it was a very enjoyable performance to view; though it was the quieter moments I found enchanting.

Rating: 08/10.