Klown (aka Klovn, aka Klown: The Movie) – to prove that he’s father material an awkward and unlucky guy takes his 12-year-old nephew on a canoeing trip with his sex-obsessed friend – what could go wrong!? It’s based on a successful Danish TV show, and the style feels stuck in that format – ‘Dogme 95’ is about as close as you could describe it in cinematic terms. The story plays out like a jet-black feature-length Curb your Enthusiasm episode: lots of small details and throwaway lines coming together for cringe-tastically embarrassing ‘shouldn’t-be-laughing’ mishaps, but don’t let Curb put you off if you’re not a fan as the Danish humour is vastly different. The two-fold aspect that sets Klown apart from contemporary comedies is a phenomenal script outline that gets very dark and risqué; which is built on by two great comedians improvising and bouncing off each other. It’s more male-centric humour than you usually see, but Klown had me continually laughing out loud for the duration. If you can’t handle a finger in the bum, lots of willy talk, or the phrase ‘Tour de Pussy’ being repeated lots you probably won’t be a fan of this. Klown is a crass but surprisingly heartwarming road trip movie that blows most Hollywood output out of the water.
Gone Girl [Spoilers!]: on their 5th wedding anniversary an American Sweetheart goes missing, and it doesn’t take the public long to turn on the husband. This is a film of two halves split right down the middle: the first part is a dramatic and gripping missing person case that leads you down one path. The second half is where the film unravels – it would have been better if Amy had just stayed in the wind, followed her plan, or the plot just followed the downward spiral of Nick, but when Amy meets up with the demented ex, it opens up so many ‘that’s silly / the police would totally be all over it’ aspects and undercut the hard work of part I. It’s almost as if the longer the film goes on, the more silly it becomes – to the point of TV/B-movie. As with all Fincher movies it looks fantastic, it’s beautifully shot, well acted, but it’s all rather low-key, with none of the flare you’d expect from a director this good. The Blu Ray sound mix is also pretty shocking; music and soundscapes dominate and dialogue is completely lost in the mix. Had to watch with subtitles on. There’s a good critique of the media and how dangerous their clout is, paired with some minor social commentary – but for the most part it feels bolted on. All in all, an unremarkable David Fincher film is still way above your average movie – and for that reason alone, this is worth checking out – just dont’ watch it if you’re in a new relationship, or about to get married!
Special ID (Tè Shū Shēn Fèn, 特殊身份): an undercover cop finds himself in danger when he’s set on a collision course with an old protégé. Tonally, this film is an absolute mess; there’s Loony Tunes style moments of slapstick comedy in the middle of realistic MMA-Style fight scenes; despite it being a big-budget movie with slick intentions it continually returns to the super-cheese with bawdy music and silly melodramatic over-acting; there’s also a few sleep-inducingly boring scenes (one about Tattoos in particular). The timeline is all over the place, jumping around with no explanation, unaided by the lax direction and editing. There’s some woeful Volvo product placement: not satisfied with having their ‘City Safety’ mode blatantly pimped, there’s an entire fight scene AROUND THEIR CAR – it also doesn’t blow up when it’s dropped from height, unlike those rubbish Land Rovers!!! Ppsschhhtt!!! On the plus side, the action is generally impressive (particularly the two elongated fights at either end of the movie) despite some superhuman abilities being thrown in to the mix here and there. I love Donnie Yen and will watch anything he’s in, but he’s going for a Jackie Chan style cheeky-chappy role here, and doesn’t quite have the charm/charisma to nail it. In the end, this is amounts to little more than another completely forgettable Asian undercover cop film – with two decent fight scenes.
Twilight: after moving to the sticks Bella discovers that her new boyfriend, and his entire family, are vampires – I hate when that happens!! What surprised me is how much this is just a bog-standard coming-of-age, high-school teen-drama, with a side serving of vampires. Most ‘classic vampire traits’ are there, but the film doesn’t really dwell on them, and quickly explains the ‘workarounds’ – like how they can go out in daylight. K-Stewart is actually pretty good as the dowdy girl-next-door ‘new kid’ at school; R-patz on the other hand seems to just scowl at other characters, ridiculously, and in an infinitely broodily manner – he’s embarrassing to watch at times. The rest of the characters are well-cast, and do what they have to. The picture is very drab, devoid of any life and colour – pretty depressing and glum to watch – at least until R-Patz started SPARKLING!! Added to the plain direction, and it feels very much like a TV movie. Other noteworthy points are the: easiest vampire family infiltration ever, Edward pretty much shows/tells Bella everything; ridiculous meet the family scene; superhero baseball, lots of emo / indie music; and who’d have thought that Volvo’s were COOL COOL COOL?!?! It’s not a fantastic movie, nor is it a particularly original one, but the first Twilight film is a run-of-the-mill high-school movie, with vampire cloak over it; but what bugs me most is that vampires aren’t monsters any more, but merely ridiculous teenage sexual fantasy-projections. It’s a franchise opener that ticks the boxes, and ends up being way more chick-lit-flick than vampire/action/thriller movie.
Emo Vampires 1 – Vampire Goths 0
Could have done with way more Anna Kendrick
Sightseers: Chris and Tina are having a wild holiday: transport museum, pencil museum, stone circles… and the occasional murder. At the heart of this film are two great, stripped back, performances that really aid the shock and laugh factors – especially in that they’re both played so straight, normal and plain ‘anorak’ types. Alice Lowe in particular has the added slant of being exceptionally sheltered and not quite all there – both acted superbly. The humour and jokes are absolutely jet-black (dark matter/black hole black); most laughs are immediately followed “WTF did I just hear/see?!” thoughts, which is a refreshing reaction. Despite being dry, witty, black and comedic, it’s absolutely rooted in reality, with the down-to-earth characters, and boring settings and caravan lifestyle. This will do well overseas, but the British awkwardness and self-deprecation really helps you adds to the appreciate of this. A film as bold, intense and claustrophobic as Kill List would always be near-impossible to follow, but Wheatley has a right-good stab at this and produces one of the most memorable black comedies of recent times.