Details

Written by Matthew Toomey

Created: 28 October 2012

Directed by:	Paul Fenech
Written by:	Paul Fenech
Starring:	Paul Fenech, Elle Dawe, Jason Davis, Kevin Taumata, Vanessa Davis
Released:	November 1, 2012
Grade:	C-

I found an entry on Wikipedia that lists the feature films that most frequently use the “F-word”.  Excluding a documentary on the subject matter (yes, one exists), the top entry is Gutterballs (with 625 uses) followed by Summer Of Sam, Nil By Mouth and Casino.  It’s amusing to see another of this week’s cinema releases, End Of Watch, in the top 10.

I didn’t attempt to count the F-bombs in Housos Vs. Authority but if someone has the patience to do so, I’d be curious to know the final number.  It feels like none of these characters can complete a sentence without uttering the word.  It’s repetitive to the point of being infuriating.  While the film won’t be winning any awards of any kind, it will at least earn a high ranking when that Wikipedia article is next updated.

The story is set in the fictitious suburb of Sunnyvale, regarded as the worst place to live in Australia.  We follow a few of the foul-mouthed, dim-witted residents (known as Housos) who enjoy their bludgy lifestyle and do whatever it takes to avoid any real responsibility.

To give you a flavour for this film’s style of “comedy”, their adventures include (1) consuming illegal drugs, (2) attacking police officers and destroying their cars, (3) starting unnecessary brawls, (4) falsely claiming welfare from Centrelink, and (5) defacing national landmarks.  They’re just a great bunch of people (note: sarcasm).

While watching this film, I thought of the politically incorrect musings of Sacha Baron Cohen in films such as Borat, Bruno and The Dictator.  His comedy is designed to be provocative and offensive… but there’s often an underlying subtext and a point he is trying to make.  There’s a great scene late in The Dictator where he draws comparisons between a Middle Eastern dictatorship and the United States.

The problem with Housos Vs. Authority is that I don’t understand its point.  Is it supposed to be celebrating the lifestyle of these bogans?  Should I happy that these lazy, offensive bums stand up to the “shackles” of authority and get away with it?  Is flashing one’s tits in public the true answer to life’s problems?

The film is a spin off from the 9-episode television series that aired on SBS in late 2011.  The show generated its fair share of controversy and it led to a petition being presented to the New South Wales Parliament to have the show banned.  I don’t advocate censorship and I’m more than happy for the show to be seen but again, I have questions – who watches this show and who finds it funny?

Even if I could find a way to admire this film for its attack on political correctness, the tiresome nature of the comedy wears thin very quickly.   It’s just the same easy jokes over and over again.  Cameos from the likes of Angry Anderson, Barry Crocker and Chopper Read couldn’t save it for me.  Fans of the TV series (whoever you are) can check it out but everyone else can steer clear.  Watching the two-minute trailer is bad enough.

 

Details

Written by Matthew Toomey

Created: 16 October 2012

Directed by:	Oliver Stone
Written by:	Shane Salerno, Don Winslow, Oliver Stone
Starring:	Blake Lively, Taylor Kitsch, Aaron Taylor-Johnson, Benecio Del Toro, John Travolta, Salma Hayek, Demian Bichir
Released:	October 18, 2012
Grade:	B-

My thoughts on Savages can be summed up by splitting the film into three parts.  The opening half-hour is slow and frustrating.  It takes too long to introduce this story and its characters.  As the film’s narrator, Blake Lively keeps yammering on about these characters and her perspective on love and life.  It’s not required.  Her talent would be better put to use narrating a Terrence Malick film.

It’s largely centred on two guys, Ben (Taylor-Johnson) and Chon (Kitsch) who have established a successful marijuana growing operation in California.  They smuggled the seeds from Afghanistan and their strong customer base is a testament to their amazing product.  They’re the best the business with Ben providing the brains and Chon providing the brawn.

There’s a girl in the middle and she’s simply known as O (Lively).  In most films, you’d expect her character to cause a divide between the two guys.  That’s not the case here.  They’re happy to share and she’s the “girlfriend” to them both.  After smoking a particularly strong joint, there’s one moment where they all end up in the same bed together.

The film steps up when we’re introduced to a Mexican drug cartel that is looking for a piece of their enterprise.  It’s a “joint” venture, so to speak.  Ben and Chon would provide details on their products and their suppliers.  The cartel would then use this to satisfy their increasing market share both within the United States and back in Mexico.

Ben and Chon decide it’s not a deal worth pursuing.  They’d rather not get involved in a partnership with these untrustworthy Mexicans.  They’d prefer to sell the business as a whole, take the money and go on a lengthy sabbatical in Indonesia.

That won’t be possible though.  The leader of the cartel, Elena (Hayek), organises for O to be kidnapped by her right-hand man, Lado (del Toro).  She’s going to be kept locked up in a filthy cage for a year… and that’s only if the two guys agree to the partnership.  Boxed into a corner, it forces Ben and Chon to take action.  With the help of a corrupt Drug Enforcement Agency official named Dennis (Travolta), they try to find a way to rescue O and seek revenge against Elena.

It’s this second part of the film (which thankfully is the longest) that is its strong point.  Savages develops into a fun, entertaining “who’s in control” tale that’s easy to go along with.  We’re not just seeing the story from the perspective of Ben and Chon.  We follow Elena, we follow Lado and we follow Dennis.  They’re all after the same thing – money – but they’ve all got different plans.  They’re also not quite sure who to trust.

The film falters with a dumb ending.  I won’t elaborate here but once you’ve seen the film, you’ll know exactly what I’m talking about.  I haven’t read Don Winslow’s novel, on which the film is based, so perhaps that’s to blame.  It left the audience laughing at my preview screening and it wastes all the good work that went into the lead up.

Salma Hayek is the strongest member of the cast with her portrayal as the drug cartel’s leader.  She’s a vicious, calculating individual who knows how to manipulate.  Benecio del Toro and John Travolta are also good value.  I wasn’t as enthused about the three youngsters though – Taylor Kitsch, Aaron Taylor-Johnson and Blake Lively are boring by comparison.

With the premise stretched out over more than two hours, Savages reels you in but then doesn’t finish the job.

You can read my interview with Oliver Stone by clicking here.

 

Details

Written by Matthew Toomey

Created: 20 October 2012

Directed by:	Olivier Nakache, Eric Toledano
Written by:	Olivier Nakache, Eric Toledano
Starring:	François Cluzet, Omar Sy, Anne Le Ny, Audrey Fleurot, Clotilde Mollet
Released:	October 25, 2012
Grade:	A-

It’s satisfying to see a locally made film thrive at the box-office.  Last year in Australia, we saw Red Dog warm its way into the hearts of audiences.  It spent an amazing 11 weeks inside the top 10 and grossed more than $20m here in Australia.  This year’s success story has been The Sapphires.  It’s pulled in just over $14m to date and was picked up by Hollywood heavyweight Harvey Weinstein for a release in the United States.

They’re impressive statistics… but they cannot compete with The Intouchables.  This is a film that spent ten consecutive weeks in the number one position at the French box-office following its release in November 2011.  Wow.  Just wow.  The film has been extremely popular with international audiences and has now made more money than any other non-English language film, with the except of The Passion Of The Christ.

It’s taken almost a year but finally, The Intouchables has found its way into Australian cinemas.  It’s getting a bigger release than you might expect.  Most of the major cinema chains normally wouldn’t go near a foreign language film with a bargepole.  That’s not case this time around.  They’re trying to cash in on the film’s wide appeal and believe that many Australians are going to want to see it, particularly once the word-of-mouth starts to spread.

Based on actual events, The Intouchables is the simple tale about a friendship that forms between two very different men.  Philippe (Cluzet) lives in a beautiful Parisian mansion.  He’s extremely wealthy and has a small group of loyal servants at his disposal.  Tragically, Philippe is paralysed from the neck down – the result of a paragliding accident many years ago.

Driss (Sy) is the complete opposite.  He’s just been released from a 6-month stint in jail, lives in an extremely poor neighbour and has a rocky relationship with his extended family.  A few of the film’s early scenes are overdramatised but they make the clear point that Driss is a self-centred guy who takes no responsibility for his actions.

Ironically, it’s Driss’s egotistical behaviour that leads him to Philippe in the first place.  Philippe has advertised for a live-in carer – someone who he will employ to help care for him on a day-to-day basis.  Driss turns up at the interviews but it’s not because he wants the job.  He just wants to get his form stamped so that he can show the welfare office and continue receiving his unemployment benefits.

Philippe calls Driss’s bluff.  Tired of pity that he continually receives from his friends and employees, Philippe offers him the job.  He wants someone who is rough around the edges.  He wants someone who will treat him like a normal person.  He wants someone who is a little unpredictable.  Driss fits that mould.

The movie then chronicles their up-and-down adventures and a “closeness” that slowly develops.  We’ve seen this kind of movie before – two unlikely people meet and then forge a valuable friendship that will change their lives forever.  They each need the other… but for different reasons.

The two heartfelt central performances from François Cluzet and Omar Sy will inject you with happiness.  They make a wonderful team and the scenes they share, particularly in the movie’s later stages, will leave you feeling great about life.  You’d be hard pressed to find a better crowd-pleaser this year.

Don’t take my word for it though.  Just ask anyone who has already seen it.

 

 

Details

Written by Matthew Toomey

Created: 13 October 2012

Directed by:	Colin Trevorrow
Written by:	Derek Connolly
Starring:	Aubrey Plaza, Jake Johnson, Karan Soni, Mark Duplass
Released:	October 18, 2012
Grade:	B+

A curious entry has appeared in the classifieds of a local newspaper – “Wanted: Someone to go back in time with me.  This is not a joke.  PO Box 91, Ocean View, WA, 99393.  You’ll get paid after we get back.  Must bring your own weapons.  Safety not guaranteed.  I have only done this once before.”

A similar advertisement appeared in Backwoods Home Magazine in 1997.  It was written by John Silveira to help the magazine’s editor fill up space in the classifieds section.  It was intended to be a simple joke that no one would take seriously.

That wasn’t the case.  Thousands of responses were received in the post office box – most from people who believed it was true.  The advertisement went viral on the internet in the mid 2000s and was even read by Jay Leno on his late night talk show.

Inspiration can come in the strangest of forms.  The Pirates Of The Caribbean series was inspired by a Walt Disney theme park ride.  The four films went on to gross a combined $3.7 billion at the international box-office.  The increasingly popular Resident Evil franchise was the result of a video game created for the PlayStation back in 1996.  Five films have been made in that series and it’s showing no signs of slowing down.

We’ve now created something even more bizarre.  That simple, throw-away advertisement buried amongst the pages of Backwoods Home Magazine has now inspired a motion picture.  Screenwriter Derek Connolly has used it as the backdrop to this fictional tale and funnily enough, it won him an award for best screenplay at the 2012 Sundance Film Festival.

It begins in the boardroom of a Seattle-based magazine.  A group of writers are tossing around ideas for future stories.  Jeff (Johnson) reads out the odd advertisement and suggests that it would make a great story.  Who wrote it?  How many responses have been received?  Does this person believe time travel is possible?

His editor gives him the green light and so he heads to the town of Ocean View, Washington with two interns – the disenchanted Darius (Plaza) and the useless Arnau (Soni).  Their first stop is the post office.  They park their car outside the PO boxes and they sit and wait for someone to collect the mail from box number 91.

There’s not quite enough to drag this story into a full 90 minutes and so a few not-so-interesting subplots are created.  The womanising Jeff is using the trip to Washington to catch up with his high-school girlfriend from two decades ago.  He’s also keen to help 22-year-old Arnau get past his “nerdy” qualities and finally lose his virginity.

Thankfully, these serve as only a minor distraction from the main show.  Forced to take on the lead role in the investigation, Darius discovers that the man responsible for the advertisement is a Kenneth Calloway.  He lives alone, works in a supermarket and seems to think that he’s always being followed.

Darius doesn’t reveal that she works for a magazine and is intending to write an exposé.  Rather, she pretends to be interested in Darius and his plans for time travel.  She makes up a story about why she wants to return to the year 2001 and she starts helping him steal supplies from a nearby facility.  Darius realises that Kenneth is crazy but how long can she maintain the charade?

It’s the performance of Aubrey Plaza (Scott Pilgrim Vs The World, Parks & Recreation) that deserves the most recognition.  She brings a bit of everything to Darius’s character – she’s smart and witty but also cynical and insecure.  The film’s best scenes see Plaza interacting with Mark Duplass (Your Sister’s Sister) and trying to get him to open up about his past.

A few elements to the story are a little silly but for the most part, this is an entertaining, off-beat comedy.  It will keep you smiling and keep you guessing.  It’s far from the safe, formulaic comedies that usually emanate from the big studios in Hollywood.  Safety Not Guaranteed was shot on a budget of just $750,000 and has quietly moved its way through film festivals and art house cinemas across the world.

 

Details

Written by Matthew Toomey

Created: 20 October 2012

Directed by:	Ben Affleck
Written by:	Chris Terrio
Starring:	Ben Affleck, Bryan Cranston, John Goodman, Alan Arkin, Victor Garber, Kyle Chandler
Released:	October 25, 2012
Grade:	A-

Director Ben Affleck isn’t afraid to point a few fingers during the opening of Argo.  He quickly covers the history of the United States’ involvement in Iran that began in the 1950s when the CIA helped overthrow the democratically elected Prime Minister.  The U.S. had acted due to the fact that Iran had nationalised their country’s vast oil reserves.

Over the next 25 years, the U.S. Government formed a close bond with Iran’s Shah to help increase their influence and to protect their commercial interests in the region.  Huge amounts of financial aid were provided to Iran and the U.S. meddled further with the introduction of Westernization policies.

The increasing anti-American movement within Iran reached a tipping point in 1979 and its people revolted.  The Shah was ousted from power and the Supreme Leader Ayatollah Khomeini took control.  It forced the Shah, who was suffering from cancer, to flee to the United States to avoid execution.

Following this brief history lesson, the film picks up the story on 4 November 1979.  A revolutionary group of Iranians stormed the U.S. embassy in Tehran and took more than 50 American diplomats hostage.  Six managed to escape however.  They snuck out through a back exit and took refuge in the home of the Canadian Ambassador.

With the stage set, Argo broadens its scope.  We cross to the United States and start following the mission to rescue these six Americans.  Top CIA agent Tony Mendez (Affleck) has a creative plan but it’s proving to be a “tough sell” to his superiors.

Mendez wants to fly into Tehran under the guise that he’s a Canadian film producer looking for a location for his new Arabian science-fiction movie.  He’ll then visit the Canadian Ambassador’s house, provide the trapped diplomats with fake passports and have them all fly out together as part of a film crew.

Realising it’s “the best bad idea” they have, the proposal gets the green light from the CIA.  Mendez knows that every detail has to be considered before setting foot in Iran.  He starts by flying off to Hollywood and working with a good friend (Goodman) to create the illusion that this fake movie is real.  You won’t believe the lengths they go to!

Argo is largely based on actual events.  The full story wasn’t made public until declassified by Bill Clinton back in 1997.  You can read all about it on the web but I’d suggest you squash your curiosity until you see the film.  It will make the tale far more intriguing and suspenseful.

Many have already made reference that 40-year-old Ben Affleck is following the footsteps of the late Sydney Pollack.  Affleck started life as an actor but he’s now spending more time in the director’s chair making quality, award-worthy dramas.  Argo marks his third directorial effort following Gone Baby Gone and The Town.

Affleck has made the film look as authentic as possible and the work of the costume designers and set decoration crew must be recognised.  You’ll also see from the footage in the closing credits that the actors look remarkably similar to the real-life people that were involved in mission.  Affleck could have added a Clooney, DiCaprio or Damon to enhance the movie’s marketability but it’s clear that he wasn’t after “big names”.  He wants the story to be the focus.

While I cannot find fault with the film’s strong visual presence, I do have concerns about the screenplay and in particular, the ending.  I was reminded of the clichéd scene in action-thrillers where a hero cuts the wire on a bomb with just one second left remaining on the timer.  There are too many such moments in Argo’s later stages.  I’m appreciative of the need to Hollywood-ise the story to build tension but Argo goes too far.  Those hungry for the truth will be able to find more through a simple internet search.

The performances are superb with the two standouts being Bryan Cranston (Breaking Bad) as a supervisor within the CIA and Alan Arkin (Little Miss Sunshine) as the film’s fictitious producer.  One of the film’s best scenes features Cranston going on a passionate crusade to secure plane tickets for the mission.  Arkin, with the help of John Goodman, adds a useful dose of comedy.  There’s one line in particular (a reference to his fake movie’s title) that will be remembered for many years to come.

The use of dramatic licence in the finale is too obvious but aside, Argo is a solid dramatic thriller that is informative, entertaining and gripping.