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Written by Matthew Toomey

Created: 03 November 2015

The early scenes of the poorly titled Man Up suggest this is going to be another silly, convoluted, cliché ridden romantic comedy.  When we first meet 34-year-old Nancy (Bell), she’s sitting in a hotel room and ordering burgers via room service.  There’s a party going on downstairs where a good friend has promised to set Nancy up on a blind date.  She’s not interested though.  She sick of dodgy dates and set ups.  She’s happy to keep getting sympathy from friends and family by playing the “forever alone” card.

While on a train to London for her parent’s 40^th wedding anniversary, Nancy is befriended by Jessica (Lovibond), a chatty, bubbly, 24-year-old triathlete.  She’s been set up on a blind date by mutual friends and she’s agreed to meet the lucky guy, Jack (Pegg), at Waterloo Station.  They’ve arranged to hold a copy of a bestselling self-help book in their hand to help them identify each other.

It only takes a few minutes for everything to go awry.  Feeling sorry for Nancy and her gloomy, negative attitude, Jessica gives her the self-help book upon leaving the train.  She’s not worried about missing her date though.  She’s going to buy a new copy from the book store at the station.  Unfortunately, it’s not in time before Jack spots Nancy holding the book.  He think that she’s Jessica and stunned by the whole chain of events, Nancy decides to go along with it.  They head into the city for some ten pin bowling, a few drinks, and a lot of awkward first-date conversation.

As bizarre as it sounds, it’s at this point where the film starts to click.  The film doesn’t drag the “will she confess” question out until the later stages.  She admits early on that she’s not Jessica.  Jack doesn’t take the news too well but once he gets over his initial surprise, things settle down and the two decide to have some fun.  There’s a great scene where Jack runs into his ex-wife (Williams) and her new partner in a bar.

Directed by Ben Palmer (The Inbetweeners Movie), Man Up is a film that skilfully balances its genres.  Part of the film is a goofy comedy.  This is evidenced by the scenes with Rory Kinnear.  He plays one of Nancy’s high school “friends” who has never overcome his obsessive crush for her.  Another part of the film is a feel-good drama.  You’ll grow to like Nancy and you’ll see her slowly open up to Jack through the power of intelligent, insightful conversation.

The supporting cast pull their weight.  As Nancy’s father, Ken Scott delivers a sweet, heartfelt speech when talking about his wife at their 40^th anniversary celebrations.  I like the nice touch of having separate couches in their home for white wine and red wine drinkers.  Sharon Horgan also impresses as Nancy’s level-headed sister who offers encouragement and helps push her in the right direction.

Clocking in at a neat and tidy 88 minutes, Man Up offers more than you might expect.

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Written by Matthew Toomey

Created: 27 October 2015

Last week, I saw The Lobster – a movie set in a dystopian future where those people not in a relationship have 45 days to find a partner or else they will be turned into the animal of their choosing.  It was one of this year’s strangest films (but still worth seeing).  The premise for The Dressmaker isn’t as unusual… but it’s not conventional either.  Many believe this term is used too often but I’m going to describe it as “quirky.”

Set in the 1950s, the film opens with the impeccably dressed Tilly Dunnage (Winslet) stepping foot in the tiny outback town of Dungatar.  Her first words set the tone for the film – “I’m back you bastards.”  A successful dressmaker now living in Paris, Tilly hasn’t returned to her birth town to catch up with old friends.  It’s clear she has a hatred for the place.  Rather, there are questions about her upbringing that she needs answered.

The first person she turns to in Dungatar is her mother, Molly (Davis).  It’s the first time they’ve seen each other since Tilly was sent away as a 10-year-old.  Molly is suffering from dementia but it doesn’t stop Tilly from getting a few things off her chest.  She thinks that she’s cursed.  She thinks that she’s a murderer.  They’re odd statements from someone who comes across as both intelligent and articulate.  Why is she like this?

The rest of the townsfolk are equally eclectic.  There’s a police officer who lives a double life, a hunchback pharmacist who beats women, a paranoid germaphobe who won’t let people into her house, a husband who drugs and rapes his wife, and an abusive schoolteacher with a long held vendetta.  The only “normal” person appears to be Teddy (Hemsworth), the star of the local football team.  He’s keen on Tilly but she refutes his initial advances because of her “curse”.

Don’t let the trailers and adverts fool you.  The Dressmaker is a viciously dark comedy that will catch many by surprise.  Some moments are light and silly whilst other moments are tragic and confronting.  It’s a major reason why writer-director Jocelyn Moorhouse (How To Make An American Quilt) was attracted to Rosalie Ham’s novel.  It’s an emotional rollercoaster where you won’t know what’s around each corner.

With so many characters, it’s a struggle to give enough attention to their respective backstories.  The romance between Tilly and Teddy also feels undercooked.  It’s hard to believe they fall in love with each other so abruptly.  Thankfully, the film finishes on a high with a cracking final scene and a memorable punchline from Kate Winslet.  As someone who doesn’t mind a splash of vengeance, it left me with a wide smile.

Kate Winslet is terrific but it’s Judy Davis who makes the more lasting impression as her cantankerous mother.  She’s both horrible and endearing – a delightful combination.  A win at the upcoming AACTA Awards for best supporting actress feels inevitable.  Two of my favourite Aussie actors, Hugo Weaving and rising star Sarah Snook, also have fun with their respective roles.

Not everything in The Dressmaker works but it takes chances and offers a style comedy that is both dark and unexpected.

Details

Written by Matthew Toomey

Created: 03 November 2015

In Spike Jonze’s brilliant 2002 comedy Adaptation, the chief speaker (Brian Cox) at a screenwriting seminar preached about the many stories that exist in the world.  Every day there is genocide, war, corruption and murder.  Every day there is love, heartache, betrayal.  Every day someone makes a conscious decision to destroy someone else.  The bottom line is that if you can’t find a story to write about then you know nothing about life.

The trick is trying to work out exactly which story to tell.  Sometimes we just need a little inspiration.  Man On Wire was a head shaking documentary that chronicled Philippe Petit’s attempts to wire walk between the World Trade Centre Towers in 1974.  It won the Academy Award for best documentary feature in 2009.  Wanting to bring the story to a much wider audience, Robert Zemeckis directed an historical re-telling of Petit’s story (The Walk) that was released in cinemas last month.

The tale of American police officer Laurel Hester has taken a similar path.  In 2007, a 40 minute documentary about Hester premiered at the Sundance Film Festival and it later won the Academy Award for best documentary short subject.  Actor Ellen Page (Juno) saw the film, purchased the rights, started a production company, and recruited writer Ron Nyswaner (Philadelphia) to craft a screenplay.  The finished product, directed by Peter Sollett (Raising Victor Vargas), is now in cinemas.

For most of her life, Laurel Hester was a quiet, unassuming individual.  She studied criminal justice and psychology at college.  She became an investigator for a prosecutor’s office in New Jersey.  She handled cases involving murder, drug trafficking and organised crime.  She was well respected by her peers and reached the rank of lieutenant.

Laurel’s world forever changed in late 2004 when she was diagnosed with lung cancer at the age of 47.  Attempts to destroy the cancer cells using chemotherapy failed and she was given only a few months to live.

At the front of Laurel’s mind throughout the ordeal was her same-sex partner, Stacie Andree.  As a police officer, Laurel was entitled to a pension that would pass to her spouse upon her death.  However, as Laurel and Stacie could not be legally married, that pension would be forfeited.  With her days numbered, Laurel started a battle with the conservative local government and pleaded with them to change the pension regulations.

In the leading roles, Julianne Moore and Ellen Page deliver two terrific performances.  You get a strong sense of the bond and connection that existed between their respective characters.  You also appreciate the difficulties that Laurel faced in trying to manage multiple personas.  While she was a loving, open person at home, she hid her sexuality and relationship status from her homophobic work colleagues so as to help her chances of promotion and avoid discrimination.

The film isn’t as insightful when it comes to the supporting cast.  Steve Carell plays the self-absorbed head of an activist organisation pushing strongly for same sex marriage.  His character highlights that activists, while well intentioned, aren’t always doing what’s best to promote their cause.  It’s an interesting subplot but as it is given such little attention within the film, it ends up being an unnecessary distraction.

Freeheld also struggles to explore the depth of resistance against marriage equality.  On watching the film, you’d think the only people fervently objecting to the issue are the counsellors that sit on the local government.  We observe their meetings and hear a litany of contradictory excuses they use to justify their position.  What we don’t get to see is the pressure placed on them by religious organisations and the large group opposed to same-sex marriage.  Things are not always as simple as they seem.

Details

Written by Matthew Toomey

Created: 21 October 2015

Adam Jones (Cooper) is a bizarre character.  Over a 10 year span, he rose to become “the Rolling Stones of chefs” for a famous Parisian restaurant.  He was cocky, he was arrogant, but he was also the best.  Then, he threw it all way.  He developed addictions to sex, drugs and alcohol.  He also owed a huge sum of money to drug dealers.

Adam could have faced his problems in a traditional manner.  He could have sought professional help from a treatment facility.  He could have apologised to those he’d hurt.  He could have worked off the debts he owed.  Instead, Adam decided on a more neurotic form of “penance”.  He fled Paris, moved to New Orleans, and spent a few years shucking oysters in a rundown restaurant.  He kept a journal where he actually counted the number of oysters.  As the film begins, the total ticks over to 1 million.  It seems like an odd way to clear his head.

Now free of his addictions, Adam returns to Europe to catch up with some faces from the past.  Suffice to say they’re surprised to see him.  They all thought he was dead.  You’d of thought he could have least told a few people he was going to New Orleans so as not to cause so much stress and worry.  It’s yet another reason why Adam is such a hard character to like.  He really was a shmuck.

Ah, but is he still a shmuck?  I’d argue the answer is yes.  Before his life fell apart, Adam was the head chef at a 2 Michelin star restaurant.  He now wants to go one step further and earn the most coveted of acknowledgments – a third Michelin star.  He convinces his old partner (Bruhl) to take him back in and he pulls together a group of young chefs from London.

I can’t say I’m a huge fan of his leadership style.  He comes across as deranged lunatic who continually abuses and degrades his staff.  Perhaps he wants to make them better at what they do (kind of like J.K. Simmons in Whiplash) but you can’t help but feel he’s just using them to achieve his own selfish dreams.

Burnt is a film that doesn’t work.  It’s intended to be a tale of redemption but Adam doesn’t have a lot of redeeming qualities.  The film is also vague about his backstory.  What happened during his breakdown in Paris?  It’s an event that’s mentioned numerous times but few details are revealed.

The supporting cast are woefully underutilised.  Uma Thurman (Pulp Fiction) is credited on the film’s poster but appears in only one scene as an influential food critic.  Is that all she was contracted for?  Or were scenes left on the cutting room floor because parts of the film weren’t working?  Sam Keeley plays a budding chef but his character goes nowhere.  Emma Thompson plays a therapist who makes little impact.  Omar Sy plays a fellow chef but we know little about his past altercations with Adam (which becomes important in the later stages).

Directed by John Wells (August: Osage County) and written by Steven Knight (Dirty Pretty Things), one can’t help but think this finished product is what they envisioned. 

Details

Written by Matthew Toomey

Created: 28 October 2015

He picked up a few varying roles early in his career (Saving Private Ryan, The Iron Giant, Boiler Room) but for the most part, Vin Diesel’s career has been built around The Fast & The Furious franchise.  Over the last 6 years, he’s only made one live action film that wasn’t part of the Furious series – Riddick in 2013 (and that itself was a sequel).

Diesel is finally stepping into new territory with The Last Witch Hunter but it’s unlikely to rank highly on his resume.  He plays Kaulder (Diesel) – a man who killed one of the world’s most sinister witches.  That was 800 years ago and the reason he’s still alive is that the witch, before meeting her demise, placed a spell on Kaulder giving him eternal life.  Some may see it as a blessing but he sees it as a curse.  He’s tired, rundown and longing to move onto the afterlife.

That’s not to say he’s still not of value to society.  A truce has been in place for centuries that has allowed humans and witches to live side by side.  When a witch gets out of line, Kaulder is brought in as the enforcer to set things straight.  Given that he cannot be killed, it’s a pretty easy gig.  You could shoot him repeatedly in the chest (someone gives it a go) and he’ll still live to kill you.

As we don’t need to worry about the health of our hero, the film tries to become a mystery thriller.  An old priest (Caine) is found dead and Kaulder suspects it wasn’t of natural causes.  His early investigation suggests that witches are involved but he’s not sure about their motivations.  All he has to go by is the strange clue – “remember your death.”  This leads him to Chloe (Leslie), a friendlier witch with the power to open up repressed memories.

The Last Witch Hunter offers little in terms of story and culminates with a tiring, poorly edited action finale.  Vin Diesel goes about his business with the same forlorn expressions and the same monotone voice.  At least the Fast & Furious franchise allows him to explore his comedic side.  This is all too bland, too serious.  The characters needed a significant injection of charisma.

It’s possible to make a great witchcraft movie.  Drag Me To Hell (released in 2009) is a perfect example.  Unfortunately, director Breck Eisner (Sahara) has failed to create something with the same level of depth and suspense.