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Reviews
Boston Legal (2004)
The Alan and Denny Show
Rising from the ashes of the Practise, always a somewhat leaden and humourless show, the characters that Spader and Shatner created were clearly meant for better things. Boston Legal initially struggled to be about anything but the two of them as the rest of the firm struggled to hold our interest by comparison. Gradually the increasingly redundant eye candy was dispatched, Rene Auberjoniois given increasing prominence to function as an effective foil to Alan and Denny while the arrival of Candice Bergman gave the show it's first strong female lead. The battle between the cavalier antics of our heroes and the more conventional ways of the rest of the firm has provided strong drama. In Alan Shore, James Spader has created one of the most complex and engaging characters of the small screen, his impudence, intelligence and twisted sense of mortality make him unpredictable and engaging. Denny Crane meanwhile shows not only Shatner's willingness to send himself up but also his superb comic timing. For the first time you can see him on screen and not think about you know who. All in all, an excellent series that will hopefully run a good few seasons. Of course, if Spader walks, it's all over.
Love's Labour's Lost (2000)
A bold attempt
...but the film really doesn't work. It might be argued that trying to marry one of Shakespeare's weakest plays (a nonsense plot full of puns that no longer and apparent absence of an ending) with Golden Age musicals necessitates actor who can not only sing and dance but also recite Shakespeare. Branagh himself fairs best here but some of the performances are dreadful. Alicia Silverstone squeals every line as if experiencing a sugar rush and seems to have no understanding of the meaning of the words while Matthew Lillard flounders around hopping weak physical comedy will cover his lack of acting talent. The dancing and choreography is perfunctory at best, the seemingly effortless quality of the musicals of that era came from years of training and can not be replicated by sheer enthusiasm alone. It is always a delight to hear Branagh bring the Bard's word to life but this really didn't work. Commendation also to Richard Clifford's Boyet, he caught the warmth and subtlety of the character tempered by a sadness that he himself seems to be alone. He shone while everyone else senseless mugged into the lens.
Jesus of Nazareth (1977)
Puts the Passion in its place
Having sat through Mr. Gibson's facile shlock, I was inspired to watch this mini-series again. I can remember watching it in my early teens and being especially moved by Robert Powell's portrayl, despite not having strong religous leanings. In watching it fresh, I was again devastated by the sincerity and depth of the performance, he seems to radiate a quiet determination and purity of heart that makes it so easy to accept him as the character. The film examines Jesus' message through the acts of his life and is strengthened by the intelligence of the script and adherence to source material. Compare the debate in the Jewish high council, the dignity of the various elders compared to the hysterical cackling stereotypes played out in the Passion and it is easy to see the contrast between an intelligent measured approach to a complex story and witless fundamentalism. Jesus' message was one of understanding, compassion and tolerance and never I have see that better expressed than in this film. At six hours long, it's well worth your patience.
Laurel Canyon (2002)
Insultingly bad
This film fails to work on so many levels it's hard to know what bit of the wreckage to poke first. Okay, accents. The Brits playing the Americans were passable but Alessandro Nivola Mockney tones were diabolical, occasionally saying 'cahhhnt' doesn't convince anybody. Natascha McElhone seems to be doing some vague Eastern European accent but transpires to be from Israel. Frances McDormand is a fine fine actress but wasted here and struggles against unconvincing script and awful dialogue. Alessandro Nivola is an awful actor, singer and woefully miscast. The scene where he and McDormand seduce Kate Beckinsdale from the confines of a swimming pool is one of the most unconvincing moments in modern cinema. By the end, and what an ending that wasn't, I was praying for Christian Bale to transform into Patrick Bateman and slaughter the entire cast. And then himself for wasting our time. Hideous. Pretentious. Annoying.
Marat/Sade (1967)
Required viewing for all RADA entrants
In many ways Marat/Sade functions far better as the play with a play because it gives the actors a chance to interact with the audience, in many productions the actors have wandered out into the theatre and done a fairly comprehensive job of breaking down the 'fourth wall'. The play is difficult because of it's density but a knowledge of the French revolution is not necessary to understand it. It more deals with the aftermath of the revolution and the disillusion that followed.
It is a play that demands much of it's actors, many of them playing ambigous roles of both mental patient and historical figure. The film capture some of that energy and the fact all the action is contained within one room doesn't make the story drag. The print is awful but this was a low budget production. Richardson shines as does Jackson and Willians but Magee, his weary features making a perfect de Sade is magnificent and it's a shame he couldn't be coaxed into doing more film roles.
So, RADA wannabes, think you can handle a role? If not, you'll find the Pop Idol auditions just down the road.
Matt
Bo' Selecta! (2002)
Abstract Impressionism
Is there any sense in asking why Michael Jackson has been reincarnated as a profane version of his eighties self or why Southampton-born Craig David has a Yorkshire accent or why Michael Douglas sounds like Woody Allen? Is there any point even in pondering why the Transylvanian born Avid sounds Portugese? Of course not, the point of Bo' Selecta is not accurate impressions but of twisting celebrities into grotesques of themselves. That said some of the voices are brilliant, especially Kelly Osbournes oscillating mid-Atlantic accent. Fun also is Avid's obsession with the D-list micro-celebrities that clutter the small screen (the Big Brother contestant being the most perfect example). If there is something wrong with this series is that it's a bit reliant on the scatological content to pad out moment's of surreal genius. Michael Jackson sky-diving dressed as Peter Pan while Martin Bashir ran about on the ground fretting about feeding his baby was a particular highlight.
Max (2002)
A flawed but fascinating movie
The majority of historical dramas tend to fudge the facts. Max gives itself a little more breathing room but admitting to be a work of fiction. A film offering anything but a comic or demonic portrayl of Hitler risks massive controversy and he has always appeared somewhat ludicrous on screen due to 'that' moustache (only Michael Sheard ever got away with it). An examination of the Young Hitler, on the brink of becoming the political monster we know him for, is interesting if only to consider what might have happened if his intelligence and passion had been channeled into something more positive. Noah Taylor, first seen starring up at a bronze eagle, shines in the role. He is by turns dogmatic, sulky childish yet behind his eyes shines a horrible determination. Notice the reaction of Captain Mayr during Hitler's final speech. He knows that this man is shortly to move beyond his control. The sad fact is there is nothing else to measure up to Taylor's performance. Given a role that could really demonstrate his range, Cusack flounders and resorts at times to giving his standard performance. His is the title character yet we never really establish much about the character and his relationships with his wife, children and mistress are not well defined. True, the character is only interesting in terms of his closeness to Hitler but I would have liked to see Cusack go deeper into the role if we are to believe this man could have redeemed the soon to be dictator. Another problem is that everyone appears to be doing whatever accent they fancied. While it is not necessary for everyone to sound German, some continuity would have helped. A German soldier with a thick Scots accent was particularly grating and I say this as a fellow Scot. I'm told by a historian friend of mine that Hitler's paintings were rubbish and probably always would be. As a man stuffed full of ideas and self-importance but with precious little talent, Adolf may have truimphed in the modern art world
Daredevil (2003)
Simply went in the wrong direction
There's a very fine moment early on in Daredevil when Affleck pulls off his costume to reveal a mass of welts and scars underneath. The establishment of a character that puts himself through mental and physical hell as some sort of purgatory, strongly linked to his Catholic faith, offers new territory for a comic book movie. Sadly nothing else here does. All the fights, and there are many, are shipped in from the Matrix/Crouching Tiger etc., a style that is starting to look so cliched that you long for the days of two people simply punching it out. I understand the comic books, which I'd quite like to read, to be very dark in tone and perhaps should have been lifted from them rather than weak and generic attempts at romance and comedy. A smaller budget, a higher rating and more artistic freedom could have worked wonders here. A missed opportunity.
The Last of England (1987)
Emperor's New Clothes?
This is the sort of movie which is usually defended with a phrase such as 'Oh you clearly didn't understand' or 'It's narrative is too unorthodox'. The sad fact is the film's limited distribution is due to its own wretched pretensions rather than its intelligence. A barrage of depressing images (man shoots up, man humps portrait of woman and so on) and an endless meandering dialogue is not enough to make a film involving. Jarman's intention is clear, Thatcher's Britain was every bit as horrible as it is shown to be here but surely there were better ways to articulate that. His work remains infuriating rather than involving and for that reason alone this film must be judged a failure.
Get Well Soon (2001)
Nothing like There's Something About Mary
Where a lot of romantic comedies fall down is that you can not for one believe for one moment that the couple won't actually end up together, no matter what obstacles are tossed in their path. The truimph of Get Well Soon is that it casts Vincent Gallo, best know for playing a variety of sociopaths and oddballs, as the lead male. Just like in Buffalo 66, the Gallo character is so fundamentally self-destructive that you can really believe he's going to mess this up and it's almost a relief when he doesn't. Likeable supporting characters and a good performance from Cox, it's a shame this movie didn't get more recognition. Or indeed, any at all.
Christie Malry's Own Double-Entry (2000)
Not flawless but fine
With a limited budget and resources, Paul Tickell has done a fantastic job of bringing Johnson's unique perspective to the screen. Nick Moran does well at playing a character that is almost a cipher but has a darkness within him that no-one detects until it's far too late. References to Princess Diana and attacks on Iraq bring the tale right up to date and, frustrating as it was, I can see why this was pulled from its original mid-September release date.
Luke Haines is a God.
Jeffrey Bernard Is Unwell (1999)
Let us be clear, you ARE not worthy
Live film version of Keith Waterhouse's stage play 'Jeffrey Bernard is unwell' based on the fascinating but degenerate journalist of the title. Peter O'Toole and the original supporting cast reprise their roles from ten years ago. O'Toole's performance as the perpetually sloshed Bernard is one of the finest he has ever done and nothing but a pleasure to watch. Impending doom has never looked so appealing. Buy it.