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Written by Matthew Toomey

Created: 30 October 2011

Liz (Mortimer) is a stay-at-home mother who hasn’t had sex with her husband (Coogan) in over a year.  Miranda (Banks) is a wanna-be journalist who can’t seem to find an exclusive story to launch her career.  Natalie (Deschanel) is struggling comedian living in a small New York apartment with 6 other people.

These three sisters all have problems.  They also have, as so appropriately described in the film’s title, an idiot brother named Ned (Rudd).  His stupidity is illustrated in the film’s first scene.  A uniformed police officer comes up to his stall at an open street market and asks if he has any cannabis for sale.  You’d think the alarm bells would be ringing in Ned’s head but not so.  He hands over the weed and is promptly arrested.

On being released from prison, Ned finds himself with nowhere to live.  He was hoping to return to his “hippy” lifestyle at his girlfriend’s biodynamic farm but she’s moved on and found a new guy.  He tries moving back home with his mother but her smothering nature wears thin very quickly.

His sister’s begrudgingly offer Ned a lifeline but that doesn’t go well either.  He moves in with each one of them and in the process, turns their lives into a complete mess.  He’s not doing it deliberately but he has his uncanny knack for causing tension and brining everyone’s problems into the open.  No one wants him.  No one knows what to do with him.

Our Idiot Brother wants to be a quirky comedy but I don’t think it delivers enough laughs.  These characters and situations are all very eccentric but you won’t be laughing heartedly like in a Coen brothers movie.  The writing wasn’t sharp enough and you always have a hunch where the story is heading.  In its defence, the ending isn’t too bad and the film’s message comes through strongly.

The cast are good as opposed to great.  With his sloppy attire, ungroomed beard and lethargic nature, Rudd reminded me of Jeff Bridges’ iconic performance in The Big Lebowski.  The key difference being that Bridges was funny.  Rudd is not.  There’s a strong female presence with Emily Mortimer, Zooey Deschanel and Elizabeth Banks but again, the screenplay doesn’t ask enough from them.

Our Idiot Brother made it in the top 3 of the audience vote at the Melbourne International Film Festival (just ahead of the crowd-pleasing Red Dog) which suggests that it is tickling the funny bone of most filmgoers.  I guess I’m in the minority with this one.  It has its moments but, for the most part, I found it to be flat and disappointing.     

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Written by Matthew Toomey

Created: 19 October 2011

The Isle Of Man Tourist Trophy (TT) is an annual event where some of the world’s best motorcycle riders compete in a series of races.  I’ll be upfront and say that I’m not a huge fan of the sport and hadn’t even heard of the TT prior to seeing this documentary.

It wasn’t until the narrator mentioned the number of fatalities in the event’s history that the power of the film really kicked in.  Since it began in 1907, there have been a total of 237 deaths either during an official race or practice session on the Snaefell Mountain Course.  That’s an average of more than 2 per year!

My first thought was that these must have occurred during the early years of the race when bike safety wasn’t as strong as it is today.  Nope, that’s not the case.  There have been 10 fatalities in the past 2 years alone – 5 during the TT races held in June and a further 5 during the Manx Grand Prix held in September.

You can now see why British filmmaker Richard De Aragues thought it the perfect subject matter for a feature length documentary.  He throws in a bit of history but his focus is on the 2010 TT event.  We get to see the 5 major races (each with their own drama) and we follow a few of the riders behind the scenes.  It’s riveting stuff.

It’s the death-defying nature of the sport that I’ll remember most strongly from this film.  These races are different from those of the MotoGP that are run on proper tracks with many safety features.  The TT races are run on normal streets.  The town is closed down and the riders navigate their way past houses, hedges and corner stores.  If they have an accident, they’re likely to be flung into someone’s front yard (where a spectator is probably standing by his letterbox and looking at the action).

To give you a further perspective, the final race is 243km long and the winner’s average speed throughout the race is roughly 207km/hr.  I was shaking my head with disbelief as I watched the riders navigate the sharp corners and avoid rock walls by a matter of inches.  De Aragues shows this action from a variety of angles – whether it be a camera strapped to the front of a bike or a helicopter flying high overhead.

The rider given the most amount of screen time is Guy Martin, a 28-year-old trying to notch his first TT win.  His thick British accent is a little tough to understand at times (I almost wish the film had subtitles) but his eccentric behaviour will provide some unexpected laughs.  I was a disappointed that we didn’t get to know some of the other riders a little better but perhaps they lacked Martin’s quirky charm.

They know the risks that they face but it’s part of the reason why these riders love the sport and this particular race so much.  They’re adrenalin junkies and I tip my hat to their bravery / stupidity (I’m not sure which).

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Written by Matthew Toomey

Created: 26 October 2011

In Time is set is some bizarre parallel universe where “time is money”.  Instead of receiving cash for putting in a hard day’s work, you receive time.  Your running balance appears on your arm in neon lights – kind of like an inbuilt watch.  Should it ever reach 0:00:00, you’re life will come to an abrupt end.  There’s no chance of declaring bankruptcy and starting again.

The film’s production notes suggest the film is set in the “future” but I’m not sure how this is the case.  Many of the buildings, roads and infrastructure look like something from today.  It’s only the cars that look slightly different.  The point I’m trying to make is that this is a really difficult concept to invest in.  Writer-director Andrew Niccol (Gattaca) provides no background information as to how our world got itself into this position.

The film’s overarching premise is that a select group of people have transformed time into a commodity for their own advantage.  Poor people never have more than a day or two on their clock and so must continually work like slaves to prolong their life.  Alternatively, the wealthy live like royalty with more than a century up their sleeve.  I’m sure Kim Jong-il will investigate the concept when he checks out a bootleg copy of the film.

Again, how did this happen?  How did humans suddenly find themselves with green numbers glowing on their arms?  How did we end up in a cashless society?  How did those at the top manage to get there?  How did this system get introduced around the entire planet?  Not even Bill O’Reilly from Fox News would have endorsed this!

There are a few other odd quirks as well.  For starters, no one ever looks older than 25.  They’ve tapped into some chromosome to stop the aging process and this has created the potential to live forever.  I should also mention the odd way in which people exchange time.  You grab the arm of the other person and then watch your clock go up/down whilst a strange whooshing sound can be heard.

Even if you can get past the plot holes (and that’s a big IF), you’ll still be bored by this standard action-thriller.  There's very little to get the heart pumping.  28-year-old Will Salas (Timberlake) comes from a poor neighbourhood and is struggling to get by.  In a bar one evening, he meets a 105-year-old guy who has simply had enough.  He gives Will his remaining time (more than 100 years) and then jumps off a bridge.

Blessed with more time than he could ever imagine, Will decides it’s time to “change the system”.  It seems that 1% of the world controls a disproportion share of the wealth.  Instead of participating in an Occupy Wall Street march, Will partners up with the daughter (Seyfried) of an affluent businessman (Kartheiser) and together, they try to steal enough time to be distributed to the masses.  Both are being chased however by a timekeeper (Murphy) looking to ensure that order is maintained.

There are a gazillion references to time and how precious it can be.  That message comes through loud and clear.  I’m not that sure what to make of the ending however.  With several storylines not wrapped up satisfactorily (such as that of Will’s father), I think many will leave the cinema disappointed.

On paper, In Time looked interesting.  The writer of Gattaca and The Truman Show teaming up with rising stars Justin Timberlake and Amanda Seyfried in a thriller that makes us think outside the square.  Sadly, I must report that the finished product is a waste of your time.  If you think that reference is lame, wait until you hear some of the others in the film.

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Written by Matthew Toomey

Created: 15 October 2011

Whilst many could validly argue that Woody Allen’s best days are behind him, the success of Midnight In Paris shows that there’s life in this 75-year-old filmmaker.  It’s become his highest grossing film at the U.S. box-office with a total of $55m.  That’s more than his last 5 movies combined!  I realise the statistics would look a lot different if you adjusted for inflation (1977’s Annie Hall would have close to $143m) but it’s still a noteworthy achievement.

Just as amazing is the fact that Midnight In Paris contains such a simple story.  There’s not much to it at all.  Gil (Wilson) and Inez (McAdams) have travelled to the “City of Light” for a quick vacation before they get married.

You’ll quickly get a sense that they’re not right for each other.  This is best illustrated in an early scene where they run into another couple who are visiting Paris.  Inez wants to accept their invite and hit the town for a night of drinking and dancing.  Gil isn’t quite as social.  His plans for the evening are to take a romantic stroll and check out some of the landmarks.

The two decide to make the best of the situation.  Inez goes partying with the couple, Gil goes walking on his own and they’ll see each other when they both get home.

There’s a key twist to this tale however.  Gil’s stroll through Paris’s beautiful streets takes him to a rather unexpected location.  That’s about all I’m willing to reveal since the trailer does a wonderful job keeping it hidden from the audience.  I will throw in a few adjectives though – delightful, enthralling and magical.  Hopefully they’re strong enough to tweak your own interest.

Woody Allen’s movies are synonymous for having a nerdy, insecure guy in the leading role (often played by Allen himself).  That’s again the case here but Owen Wilson (Hall Pass, Wedding Crashers) demonstrates these traits in a subtler manner (suiting the film’s tone).  He turns out to be a perfect casting choice and is well supported by a great group of actors including Kathy Bates, Marion Cotillard and Michael Sheen.

All of that said, it’s the writing that I love most about Woody Allen films.  He has a gift for creating witty, intelligent dialogue and capturing the intricacies of the complex human condition.  He’s done it again with Midnight In Paris and the film finishes a thought-provoking observation.  If you don’t leave the cinema with a smile on your face, I’ll be very, very surprised.

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Written by Matthew Toomey

Created: 22 October 2011

One of the highlights of my Toronto Film Festival experience was a “Super Saturday” of amazing films.  I caught The Hunter, The Ides Of March, Moneyball and The Descendants before it culminated with a 9pm screening of Drive is a cinema filled with more than 1,000 people.  Oh, and stars Ryan Gosling, Albert Brooks and Bryan Cranston were in attendance.  It was the perfect ending to a perfect day.

A strong buzz has surrounded this film since director Nicolas Winding Refn (Valhalla Rising) picked up the best director prize at the Cannes Film Festival back in May.  You’ll realise why as soon as the unusual opening credits start to roll and the pulsating soundtrack thrusts itself through the cinema speakers.  This film is cool!

The story, which often feels secondary to the film’s distinctive style, revolves around a guy who works as a stunt driver in Hollywood movies by day and a “get away” driver in armed robberies by night.  We never get to know his real name – he is known simply as the “Driver”.

He lives alone and mostly keeps to himself but those lucky enough to meet the Driver will see a guy who is classy, confident and composed.  Ryan Gosling (The Notebook, Blue Valentine) does a fantastic job bringing this character to life.  Almost every member of the audience, both male and female, will be ensnared by his charm and sex appeal.  Further, toothpick sales should soon be on the rise (you’ll see why once you’ve seen the movie).

The Driver seems content with his solitary existence but that changes when he befriends a woman named Irene (Mulligan) and her young son who live in his apartment building.  With her husband serving time in prison, Irene is in need of companionship and her son is in need of a father figure.  The Driver ticks both of those boxes.  We finally get to see his softer side and the three enjoy spending time together.

At the Q&A following the screening at the Toronto Film Festival, Refn said the idea was to make a film where “half the movie is a John Hughes movie (Sixteen Candles, Ferris Bueller’s Day Off) and then the guy goes psychotic and kills everybody.”  That’s not quite how it comes off on screen but this is the part where Drive changes gears and puts its foot on the accelerator.

Irene’s husband (Isaac) is released from prison and he turns out to be a pretty decent guy.  Unfortunately, he owes money to some powerful gangsters for “protection” whilst behind bars.  The Driver agrees to help him pull off “one last job” so he can get the cash and keep his family safe.  However, it sets off a chain of events that will see the Driver’s world spiral out of control.

Squeamish viewers should brace themselves for the film’s second half.  The packed audience at my screening didn’t know quite how to react.  Some were laughing with shock.  Others were looking down at the floor with their hands over their ears.  Refn and writer Hossein Amini (The Wings Of The Dove) deserve praise for the audacious way in which they’ve mixed genres.  It’s a wild ride.

It’s no surprise that Drive has already developed a cult-like status before reaching Australia.  The movie currently sits inside the IMDB’s top 250 of all time as judged by the public.  I can’t fault the film’s style (particularly the 1980s themed score) but it does fall slightly short when it comes to story and dialogue.  It’s the only reason it can’t be compared to the best works of director Quentin Tarantino (such as Pulp Fiction and Reservoir Dogs).

If you can make it through one viewing, I dare say Drive is a film you’re going to want to watch again and again.

The Drive Q&A at the 2011 Toronto Film Festival with director Nicolas Winding Refn and stars Ryan Gosling, Bryan Cranston and Albert Brooks.