Film Review: Like Someone In Love (12A) (France/Japan 2012) (Director: Abbas Kiarostami) (Japanese with English Subtitles) Wednesday 31.07.2013 18:10 The Filmhouse Cinema Screen Two, Edinburgh 

This a film revolving around three central characters, and how the roles they play for one another can be quite separate and yet have unintentional consequences for the other(s) in the triage. The film is a study in the minutia of human communicating and the acting appears very adequate in this regard. I wanted to enjoy the film more than I did, though sadly I just found it to not be that interesting.

Rating: 05/10.

Film Review: Blancanieves (12A) (Spain/France 2012) (Director: Pablo Berger) (Spanish with English Subtitles) Sunday 28.07.2013 20:30 & Saturday 04.01.2014 18:15 - The Filmhouse Cinema Screen One, Edinburgh 

This is a Spanish retelling of the Brothers Grimm fairy tale Snow White, relocated to 1920's Seville. This has ravishing lighting and monochrome photography. The film is a proper 'silent' film with title-cards and traditional 'academy' aspect ratio. The film also has a fantastic flamenco score and an abundance of charm. There are also nice post modern elements, such as who is revealed to be Snow White's prince.

My film of the year, last year, was the quasi-silent 'Tabu' from Portugal. Tabu had more of a sense of depth to it. That is about the only difference I can see in terms of tone & quality. This is an exquisitely attractive film, that I would recommend in the strongest possible terms for it's beauty alone.

Rating: 10/10. 

Film Review: Paradise Trilogy: Love (18) (Austria/Germany/France 2012) (Director: Ulrich Seidl) (German, English and Swahili with English Subtitles) Saturday 27.07.2013 15:15 The Filmhouse Cinema Screen Two, Edinburgh, Faith (18) (Austria/Germany/France 2012) (Director: Ulrich Seidl) (German and Arabic with English Subtitles) Saturday 10.08.2013 15:30 The Filmhouse Cinema Screen Two, Edinburgh, Hope (15) (Austria/Germany/France 2013) (Director: Ulrich Seidl) (German with English Subtitles) Friday 23.08.2013 15:30 The Filmhouse Cinema Screen Two, Edinburgh 

LOVE:
This is the first part of a trilogy, the following two parts are released in coming weeks. I was intrigued by this loosely connected triptych of films, each of which concentrate on a differing notion, following on from Love is Faith & Hope. After getting my tickets for all three films and prior to seeing this first part I had heard reviews where claims were being made about how difficult to watch this particular part was.

Despite the title, this film concerns itself with middle-aged overweight white european women going to Kenya for the purposes of sex tourism. The film's subject matter is handled in a balanced manner and the presentation of the story well paced.

I found the film interesting, though not enjoyable. There were scenes that portrayed the tourists exploiting as well as being exploited. There were some scenes which were intimate and bordering upon graphic in their presentation. I initially found these scenes degrading and without dignity. Though then by sticking with the scenes I found my notions of concepts such as dignity being questioned and their culturally bound nature being highlighted. I had contemplated walking out due to my discomfort, though at the same time my awareness that I had tickets for the other two films is what kept me seated.

This film felt like an ordeal. I would find it very difficult to recommend this to people, even if I knew them to have strong stomachs.

Rating: 08/10.    

FAITH: 
This second part of the trilogy has as its central character the sister of the sex tourist from the first part. The film begins showing the character as her work as what appears to be a radiographer. We then hear she is having a holiday from work though is staying home. We see this person using her holiday time to go to people living locally and harangue them in their own homes for their sinning ways while trying to introduce them to 'the mother of god'. Some of her visitations are more tolerated than others. It is very clear from the start that the central character has a profound devotion to her faith.

The film then 'goes up a notch' when the characters estranged husband, who is of differing though equally intense faith, returns having been away for a couple of years. It then becomes apparent that the central characters strength of faith and practice is a relatively recent development and although the reasoning for this development is never made explicit, it appears to have been a response to her husband's accident and subsequent absence.

The film brings in ideas about icon-based love-replacements, the blindness of fanatical religion and people's desperate need to have some sense connection and understanding, and that within times of crisis the expression of this can be manifest through very confused and absurd means.

This film had moments throughout that were very funny. The central character, despite her dogmatic ways, was portrayed with an endearing warmth. This whole film was a joy to watch and there were no moments of discomfort like with the first film.

Rating: 09/10.

HOPE: 
The final part of the trilogy centres on the daughter of the sex tourist, who we were introduced to at the start of the first film when she was being dropped of at her aunt's before her mother went on holiday.

Her aunt drops her of at a Fat Camp, which becomes the setting for the rest of the film. The daughter, Melanie, is a normal chubby 13 year old. There are very endearing scenes of the children in their shared rooms exchanging experiences, dancing and playing games such as 'spin the bottle', essentially being kids in a very normal way.

The film concerns itself with Melanie's fixation with the slightly creepy doctor at the camp, who she makes a point of trying to see each day. The fixation appears romantic/lustful. The doctor also appears inappropriately friendly towards her and gives cause for her fixation to develop.

There are several scenes which border upon exploitative before becoming either restrained/protectively sheltering from the adults, or highlighting the sweetness and naivety of innocent exploratory youth.

I was left intrigued by the title: was it titled 'Hope' due to the innocent and youthful nature of the central character who therefore had the potential to not become like her mother or aunt (both exploiters in their own ways). Or was it due to the fact that potentially exploitative situations did not become such due to people finding restraint or protective persons intervening. Or was it all of this.

I found this film on the whole enjoyable. Though as some scenes felt as though they were moving towards exploitation of a child, I was aware of a building anxiety followed by relief. This does not mean it was any less rewarding a film to watch, more that the characters were well enough portrayed that as a viewer you could not help but care for the girl.

Rating: 09/10.

Note on trilogy as a whole: the second and third films, in retrospect make me see the central character of the first film as even less likable. I have a sense that the character of the second film probably had very little support from her sister throughout the times of her marriage deterioration. Melanie, I suspect did not have a particularly supportive or nurturing relationship with/from her mother, and this may be a reason (along with just normal childhood) for over (or comfort) eating. The trilogy as a whole feels to have been very well considered, structured, and performed and as a whole gives the viewer lots to consider.

Rating (FOR THE TRILOGY AS A WHOLE): 10/10  

Film Review: Frances Ha (15), (U.S.A. 2012) (Director: Noah Baumbach), Sunday 21.07.2013 11:00, The Cameo Cinema, Screen One, Edinburgh & Saturday 04.01.2014 21:00 Screen Two, The Filmhouse, Edinburgh

This was a preview screening free to 'Cameo Members'. The film is not released in the U.K. until Friday 26.07.2013.

I was intrigued by this film for several reasons including, the lead actress, Greta Gerwig, is a favorite of a friend of mine. The film and lead actress are the cover focus of the current issue of (The British Film Institute's) Sight & Sound - the only British based 'quality' monthly publication about any strain of popular culture. When in Paris recently, the underground was plastered in posters for this 'arthouse' film and I was surprised by the scale of publicity it was getting. Finally I recently watched 'Greenberg' (2010) on T.V.. I was aware of it at the time of cinema release though it contains Ben Stiller who I usually cannot abide, so there was no chance I would go to see this at the cinema. I was pleasantly surprised by how much I enjoyed it. I was aware it was by Baumbach and is the first film where he worked with Gerwig. After this, I thought to myself I must see 'Frances Ha' when it is released, and then lo and behold I get to see it for free.

The film is all about the central character of Frances, played by Gerwig. The character is 27 and at the point of redefining herself as a separate entity to those she has clung to until then. Her work with a dance company becomes disrupted, and her flatmate moves in with her boyfriend and then away, so Frances has to adapt. Frances comes across as a friendly character who is trying to understand the world and her place in it. There are toe-dippings into other directions along with acts of denial before tentative steps.

The film, who's script was written by Baumbach & Gerwig, has been described as a showcase for Gerwig's acting ability, and I feel it is easy to see why. It appears that Gerwig fits the character in a very easy and beguiling way. There is a realness to the portrayal with elements of 'just being', awkward kookiness and carefree exuberance, that I found arrestingly beautiful. Frances is one of the most attractive film characters I've seen.

The film is presented in high contrast black and white and has a beautiful still calmness to the images that is striking. The film is quite gentle with a languid pace, though it does deal in honest and subtle ways with difficult happenings. The film is unfussy and confident as well as funny in an unforced 'lived-in' way. It is layered and thoughtful, in a way that I am finding myself going over elements of the film, in a manner that suggests to myself that I will cogitate on this one for some time to come.

This is very rewarding film and I am very pleased I missed having a lie in this morning to go and see this. As you can tell, this is a film I would greatly recommend, and I would also go so far as to say that it ties with another film (Stoker) for being the best film of the year so far. I feel enriched, the mark of a quality film; if others don't get it, they are wrong (Ha!).

Rating: 10/10. 

Film Review: The World's End (15), (U.K. 2013) (Director: Edgar Wright), Saturday 20.07.2013 15:00, The Cameo Cinema, Screen One, Edinburgh

This is the concluding part of what has come to be known as the Blood & Ice Cream Trilogy, with the first two parts being 'Shaun Of The Dead' (2004) & 'Hot Fuzz' (2007). 'Shaun Of The Dead' is a film that has grown on me with time, and 'Hot Fuzz' is a film I greatly enjoyed since first viewing and reckon to be a very well told yarn. Sadly this final installment is not a patch on the first two. They have managed once again, as with the first two films to get a good supporting cast, that to me is where the positive similarities end.

This is essentially 'Shaun Of The Dead' (another form of Zombie & pubs) without a likable central character. The film revolves around a group of childhood friends getting back together to do 'the golden mile', a pub crawl of 12 establishments, that they failed to finish 23 years previously. Needless to say it is the central character played by Simon Pegg who is responsible for bending the truth to each of the other four to enable corralling them together for this clearly bad idea.

The soundtrack is largely good, revolving around early 1990's British indie pop, then comes an incongruent slice of The Doors. The Sci-Fi element I did not feel to be particularly well handled, and caused me to think the film had delusions of grandeur.

The main problem I had with the film is its grim nihilism; the central character remains the same selfish prick throughout without a single redeeming change or any form of progression, and when he is not dead by the end, I was disappointed. I found myself letting out a sigh at the end, both in acknowledgement of relief and despair.

I had read the director Edgar Wright in an interview recently saying that part of what had spurred him and the lead actors to make the film when they did was that someone who they felt indebted to at the production company 'Working Title' (who the previous two films were made through) was seriously ill, so it was a thank you to that person. This struck me as odd motivation at the time, it's not like writing a song that can  be a nice sentiment though cost nothing, this is a film costing millions of pounds (you can see it on the screen; though it still looks cheap) and months, if not years, of time in work to make. Maybe due to this motivation it was rushed, though that would be a feeble excuse. The film did cause a couple of chuckles, though that does not excuse this downbeat misjudged ego-ride. It is very disappointing, considering how much I enjoyed their last joint venture 'Hot Fuzz' (or maybe it was 'Hot Fuzz' that was the fluke). Whatever the case, don't waste your time with this crap.

Rating: 01/10.      

Film Review: The Bling Ring (15) (U.S.A. 2013) (Director: Sofia Coppola) Saturday 06.07.2013 19:15 The Filmhouse Cinema Screen One, Edinburgh 

I was intrigued by this film as it had the prospect of Emma Watson (best known for the Harry Potter films) being directed by a Coppola, and it was known for the best part of a year before release that her character was a distinct move away from anything she had been involved with previously. The term 'The Bling Ring' was coined by local media covering the thefts to describe the group involved.  

The film concerns the real events of the thefts from the L.A. homes of, amongst others who names I did not recognises, the likes of Paris Hilton (who allowed her own house to be used for the film, a fascinating insight), Lindsey Lohan, and the British actor Orlando Bloom. 

The film focuses upon the vacuous nature of both the lives of the young adults who committed these crimes and the so-called celebrities who they idolised and targeted. It also reveals how easy it was for these crimes to be committed as it was not difficult for these young people to find out on the internet both when these people were out of town and what there addresses are. The ease of what happened was further aided by some of the properties having there front doors unlocked or the keys left under the front door mat, suggesting a degree of complacency amongst a sector of the young and incredibly rich. 

As these people's escapades begin to draw attention it was not surprising which members of the 'Ring' were panicked and which were blazae and subsequently when caught which were honest and which were deceitful and trying to 'spin' the situation as a learning stage. Sadly the one who was honest and appeared to have been dragged into this stuff did not appear to have their cooperation taken into account in the sentence received.

Emma's Watson's character was particularly scuzzy and one of the more manipulative, I had no issue with her performance. I found it impossible to care for those committing the crimes and did not have much sympathy for those being  burgled due to the disgustingly trashy and ostentatious displays of wealth these people appeared to have in their homes. Despite not caring in any way for the characters portrayed I did find the film very interesting in a car-crash kind of way. I found the film to be a good watch, though have no sense of it rewarding repeat viewing.  

Rating: 07/10. 

Live Performance Review: Dead Can Dance, Zenith de Paris - Park De La Villette, Paris, Sunday 30.06.2013, 19:30 (Support:David Kuckhermann)

When I ordered my ticket for this, it stated that I was in section U, which made me think I was going to be quite far back in this 6,000 capacity venue. It turned out I was in row 10 of the front section and I had a very good view. 

The support from David Kuckhermann (a member of Dead Can Dance's touring musicians) was very pleasant, to the extent that I have already tried to find recordings of this guy. He mostly played this 'flying saucer shaped' instrument, of which there were three, each made to produce differing scales & by varying ways of striking these metal objects he was able to get a plethora of differing sounds. There was a hypnotic quality to this. He played four pieces on this instrument and for one of them he was joined by a female French friend who sang in a north Indian style, this was very good. One piece was played on tambourine, and ably demonstrated that it is all to do with how you play it. 

Dead Can Dance, who I have wanted to see for 17 years and now it finally happens, performed for approx 1 Hour & 45 Minutes. The sound was nicely balanced and at a pleasant level. The lighting was striking and in ways quite beautiful to the extent that I was conscious at the time of being quite moved by it. The set list was also a good balance of the new album and older material. Without checking the review I did last year of their most recent album, Anastasis, I am fairly sure I made comment to the effect that Brendan Perry's vocals have definitely improved from when Dead Can Dance were previously active (up to 1996) and this is now also reinforced by the performance. The backing musicians were all very able and melded well with Brendan & Lisa Gerrard. The percussion was particularly notable.  

As is the way with Dead Can Dance, Lisa & Brendan shared lead vocals fairly evenly. There were various times when Lisa Gerrard was singing that I had the big four happen. The big four is the term I have come to use for myself as shorthand for the most extreme way I am aware of being moved by live music. Presently this includes, goosebumps, tears, body vibrating & sight being temporarily affected. I was having all of this happen within the space of about a minute, on various occasions while she sang. I have had other singers cause me to experience three of the big four, though no other singer has caused me to experience all four. Quite remarkable and dumbfoundingly transfixing. Also Dead Can Dance, and Lisa in particular make producing this sound of stunning beauty appear effortless. Lisa also has a grace about her including minimal movement which combined along her angular features give her a beguiling statuesque quality. 

The Parisian audience were very respectful while pieces were being performed, though between pieces there was a definite lack of reserve in their showing of appreciation. I don't think I've ever heard louder applause when it came to getting them back on for an encore. I found the performance quite emotional and by the end was entirely satisfied and quite drained. 

The affect was to the extent that I have been contemplating whether I can give the performance a rating. The answer has landed up being no. This is the third performance I have reviewed where I don't think I can justify a rating, the performance was beyond such means of measuring. Needless to say, if I got the opportunity again to see them, I would not have to give a moments thought.