U Turn

Tags

1990's, Billy Bob Thornton, Claire Danes, Dark Comedy, Jennifer Lopez, Joaquin Phoenix, Jon Voight, Neo Noir, Nick Nolte, Oliver Stone, Powers Boothe, Sean Penn, U Turn

Film Title

U Turn

Director

Oliver Stone

Starring

• Sean Penn as Bobby Cooper
• Jennifer Lopez as Grace McKenna
• Nick Nolte as Jake McKenna
• Powers Boothe as Sheriff Virgil
• Billy Bob Thornton as Darrell
• Claire Danes as Jenny
• Joaquin Phoenix as Toby N. Tucker
• Jon Voight as Blind Indian

A movie that caused a mixed opinion on release, U Turn is actually a head-spinning mashup of noir and dark comedy, wrapped in the guise of a fever dream. This wont be every viewer’s cup of tea, but is inventively strange and overripe with a cast willing to surrender to the baffling weirdness present.

Bobby Cooper is a gambler and two-bit criminal who is driving down the highway to Las Vegas to pay off debts to the mob. Armed with the money, Bobby wants nothing more than to settle the deal and be on his way. His unlucky streak has other ideas as his car breaks down and he’s forced to enter the town of Superior, Arizona. Now to say that this place isn’t a dust bowl and populated by some of the strangest people on Earth is a lie, as Bobby discovers the strange and dark ways that these people live by and how he just wants to leave. The local mechanic Darrell takes delight in annoying him with his obnoxious and unscrupulous ways that test Bobby’s patience no end and his day just goes from bad to worse from then on. A robbery at the local convenience store deprives him of the money he needs to pay of gangsters and puts him in a deadly situation. It’s at this point that the darkness increases with the introduction of seductive Grace McKenna and her brutal, older husband Jake. Grace entrances Bobby with her teasing ways and gorgeous beauty. While Jake makes him an offer that is very tempting but could be tainted. Jake asks that Bobby kill his flirty wife and a lot of money could come his way. Now while Bobby is no saint when it comes to criminal acts, he is more than a little hesitant to commit murder. Yet in a dire situation, what is he supposed to do? Complicating this twisted web is Grace seducing Bobby and bringing him into her plot to have her husband killed and make off with his hidden millions. More encounters with the unusual residents( such as the ditzy nympho Jenny and her short fused psycho boyfriend Toby N. Tucker, as well as a sheriff that is always skulking about) of Superior unnerve and annoy Bobby as he attempts every conceivable way to leave, yet seems to be thwarted at every turn. In need of money quickly and desperate to get out of the creepy town in at least one piece, he is left with either the plan to kill Grace or kill Jake; both of which could get him the stashes of money he craves. Let’s just say that events will go south and very bloody for all involved in this dark neo noir/ black comedy that just brings new meaning to the word weird.

I must say I found U Turn refreshing as it showed me a different side to Oliver Stone’s film making. From what I’ve viewed of his work, he is adept at directing films that confront issues and politics in a very well done way. But I enjoyed seeing him let loose and revel in the darkness of the story and the hazy world of unusual individuals that Bobby finds himself in and tries to inexorably escape from. This isn’t one of Stone’s movies that is addressing any big ideas, but he gives the film a real stamp of his through demented events and weird happenings; all captured in a style highly reminiscent of an acid trip, complete with rapid fire editing, grainy styling and overlapping scenes. Stone is firing on all cylinders here, finding twisted comedy and lurid deceit in the neo noir story at play and obviously having fun with it. You see as much as U Turn is a crime film and noir, it is also something of a black comedy, and let me not forget that Stone tips his hat to the western genre in the setting and some of the tone. It isn’t funny is a way that many people will traditionally laugh at, instead finding humour in disquieting events of which many are so wildly over the top that you will gasp as it basks in perverse glory. Now while U Turn is an underrated surreal film, it’s not without flaws. The main one is the pace growing slightly stale in the middle stretch of the film and your interest could very well wander. The sheer abundance of visuals being thrown at us gets at times a bit bloated, yet there is hope as both flaws are rectified by an electric and twisting final part of the film that redeems whatever flaws came before it. A superlative score that skilfully crosses between the humour and brutality of the film is provided by the great Ennio Morricone, who shapes the score with unusual cues and melodies to further put us under the spell of the hypnotic and surreal events unfurling.

I really enjoyed watching the cast of great actors and actresses put into all these whacked out situations and give it their best shots, all making an impact in some way. Sean Penn is effective in the role of Bobby, who is something of our anti-hero in this strange odyssey. Penn rightfully does make Bobby a really likable guy, instead showcasing his arrogance and intolerance. Yet he imbues the character with a growing sympathy that is hard to forget as he endures the hardships of the crazy town and the murderous plans he is sucked into. Jennifer Lopez sizzles as the femme fatale Grace, lulling Bobby into her devious plans for money. Yet unlike some actresses that just make the temptress role just seductive and nothing else, Lopez excellently brings forth a damaged and saddened side to the character that makes it something different to the usual deadly lady. Granted she is still seductive and dangerous, but it was a bit refreshing to see another interpretation of the femme fatale role. The appropriate nastiness and sleaziness is brought to the table by Nick Nolte as the brutish Jake, who growls his way through life with violence never far away. Then there is Powers Boothe, who appears to be the one decent law-abiding citizen in town, but who may be far from it. A devilish and unrecognizable Billy Bob Thornton turns in a memorable performance as the disagreeable grease monkey that gets more testing to impatient Bobby as the film goes on. With his ragamuffin appearance and sneering smiles, Thornton just adds even more weirdness to the proceedings complete with grimy humour. Claire Danes and Joaquin Phoenix more than gamely play their roles of the floozy with a naive attitude and her petulant, man-child boyfriend. Both stars find ridiculousness and humour within both of the loopy characters. Jon Voight appears as a blind shaman, who talk philosophically to anyone that will listen and is actually pretty spot on about an upcoming carnage that will be brutal.

It does have its moments when it gets a bit much and the middle half drags, but taking all of that into account, U Turn represents an underrated film by Oliver Stone that puts weird into a whole other dimension with editing, good performances and the noir atmosphere tinged with black comedy.

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Puss in Boots

Tags

2010's, Adventure, Amy Sedaris, Animated, Antonio Banderas, Billy Bob Thornton, Chris Miller, Comedy, Fantasy, Puss in Boots, Salma Hayek, Zach Galifianakis

Film Title

Puss in Boots

Director

Chris Miller

Voice Cast

• Antonio Banderas as Puss in Boots
• Salma Hayek as Kitty Softpaws
• Zach Galifianakis as Humpty Dumpty
• Billy Bob Thornton as Jack
• Amy Sedaris as Jill

An excellently animated and witty spin-off with the lovable rogue feline that proved so popular in the Shrek movies, Puss in Boots is proof that not all spin offs are a bad things. It becomes a bit bogged down at times when establishing some of the origins, but that doesn’t make it any less entertaining due to the mixing of humour, fantasy and animation.

Years before encountering Shrek, Puss is a fugitive who while being a bandit, has his own sense of code and honour. Travelling from place to place, he becomes aware of the mythical beans that lead to the clouds, promising a Golden Goose. The beans are currently in the possession of murderous outlaws Jack and Jill. Our smooth talking furry feline makes it his mission to recover them, but something gets in the way on his first attempt. A sleek and slinky feline by the name of Kitty Softpaws intervenes and distracts him in her own mission to get the magical beans. After giving chase, Puss discovers that Kitty is in fact in league with someone from his past. The person in question is the talking egg Humpty Dumpty. As children, him and Puss were like brothers, but Humpty out of spite and jealousy, betrayed Puss during a robbery that left Puss an outcast from his town. Initially reluctant to help Humpty in his quest to get the beans, Puss eventually comes around to the idea because of his quest to rebuild his reputation, but is still unsure of whether Humpty is plotting something. There’s no time to think though as he, along with the unusual Humpty and the gifted thief Kitty, are plunged into a full-on adventure of the highest order with excitement and twists along the way, closely linked with Jack and Jill who they must commandeer the beans off.

I will admit that I was skeptical at the idea of a Puss in Boots spin-off, because I often find spin-offs tend to be lesser than the films that they are originally linked too. So I was really surprised that Puss in Boots was in fact a very accomplished film. Chris Miller and his set of animators really gave it their all here, bringing verve and colour to the proceedings. From scene to scene, the lively animation brought life to the adventure and was spectacular. And while the visuals were a clear highlight, the various gags and send ups to western movies and pop culture was really amusing to watch. I’ve always been a fan of giving old fairy tales a makeover, and Puss in Boots does it with an abundance of heart and style. Now the main flaw I found with Puss in Boots was the overindulgence of flashbacks. I know they were meant to establish the origin story of Puss and many were good, it just felt a bit much. It could have been tightened a lot more in my view. Yet that is the only real thing I can pick at in the movie because it is immensely enjoyable and fresh. A Latin accented score is the perfect accompaniment to the rip-roaring and hysterical adventure that Puss finds himself dragged into.

Antonio Banderas with his thickly accented and suave voice is magnetic as the thieving feline on the adventure of a lifetime. Equal parts humour and pathos, Banderas uses his masterful vocal talent to give stunning life to the lovable Puss. Salma Hayek is an ideal choice for the voice of the slinky Kitty, who can match Puss with her fighting skill and thieving expertise. Hayek and Banderas, having worked together before, clearly have a good sense of camaraderie, chemistry and banter that feeds into the characters they voice here. Zach Galifianakis masterfully keeps us on edge with his contribution as Humpty, whose capricious changes in character are called into question. Is he leading Puss on or is he genuinely trying to reestablish a friendship again? That mystery is given life by the talented Galifianakis. As the revamped and very dangerous Jack and Jill, Billy Bob Thornton and Amy Sedaris display the right amount of villainy suited to the film with their long drawl.

Colourful, funny and with stellar animation, Puss in Boots emerges as a spin-off that is hugely charming and proves that when done right, these kinds of movies can work really well.

Love Actually

Tags

2000's, Alan Rickman, Andrew Lincoln, Bill Nighy, Billy Bob Thornton, Colin Firth, Emma Thompson, Hugh Grant, Joanna Page, Keira Knightley, Kris Marshall, Laura Linney, Liam Neeson, Love Actually, Martin Freeman, Martine McCutcheon, Richard Curtis, Romantic Comedy, Rowan Atkinson, Thomas Sangster

Film Title

Love Actually

Director

Richard Curtis

Starring

• Alan Rickman as Harry
• Bill Nighy as Billy Mack
• Colin Firth as Jamie
• Emma Thompson as Karen
• Hugh Grant as David
• Martine McCutcheon as Natalie
• Laura Linney as Sarah
• Liam Neeson as Daniel
• Thomas Sangster as Sam
• Keira Knightley as Juliet
• Andrew Lincoln as Mark
• Martin Freeman as John
• Joanna Page as Judy
• Kris Marshall as Colin
• Rowan Atkinson as Rufus
• Billy Bob Thornton as US President

Over the Christmas period, I only got chance to see a couple of movies. Love Actually happened to be one of them. I’m not the biggest fan of romantic comedies but decided to watch it because of the all-star cast. I must say I was pleasantly surprised. Sure there were parts that were clunky and lagged in terms of pacing, but for the most part, I enjoyed it for its cosy look at romance.

Love Actually focuses on various people in the run up to Christmas in London and how love affects them in different ways. We have Billy Mack, an ageing rock star trying to make a comeback with the help of his put upon manager. Harry, the manager of a designing agency who has his head turned by his provocative secretary  and whose wife Karen begins to suspect something. Jamie, a writer who vacations in a French cottage after catching his wife cheating on him. He begins to fall for his Portuguese housekeeper Aurélia, although he can’t profess his feelings as he doesn’t speak Portuguese. David, the newly elected Prime Minister begins to develop feelings for Natalie, a junior member of staff in 10 Downing Street. Sarah, a worker at Harry’s agency is left with the difficult decision as to whether she make a move on an enigmatic worker or care for her mentally ill brother. Daniel is grieving for his late wife while finding out about his stepson Sam’s crush on a girl in school. Mark records the wedding of his best friend to the stunning Juliet, who he has always adored but has never spoke. And the stories just keep on coming as love changes the lives of the characters in the seasonal time of year.

Writer and director Richard Curtis creates a film that is unabashedly sentimental but this does add some charm to it. With so many stories, Curtis manages to keep most of them interesting. Although some fall flat and don’t engage as much as the others. The whole segment with the character Colin, who travels to America in the hopes of attracting woman, could have been cut as it is funny in parts but a little needless in comparison to the rest of the tales on show. Also, some of the actors are not really used in effective ways to make them interesting to the audience. Martin Freeman and Joanna Page are both talented but their story of two body doubles falling in love never really goes anywhere.

Now, on to the positives of Love Actually. Despite being saccharine, it does have a bittersweet tone to various chapters. Mark’s pining for Juliet, who finds out when she watches the wedding video he recorded and finds it is composed of footage solely of her, is a bittersweet tale . This story may have its limitations in terms of character development, but is still an enjoyable segment none the less.  Out of the star-studded cast, Bill Nighy, Emma Thompson and Laura Linney are the standout performers. Bill Nighy is absolutely hysterical as the washed up rocker attempting to reach Christmas number one. Emma Thompson is natural and moving as Karen, the wife of Harry who feels sadness for the fact her husband is attracted to his secretary. The scene in which she stands in her room, tears falling from her eyes after expecting to get a necklace as a present ( it is in fact for the secretary) , but instead receiving a CD is touching and melancholy to say the least. Laura Linney is luminous as the conflicted Sarah, caught between her caring side that wants to help her ill brother and her lonely side that wants love from someone. That isn’t to say the rest of the cast isn’t good, but these three stars are the ones you will most remember. Colin Firth is excellently suited to the role of Jamie, who is enchanted by his housekeeper. Liam Neeson managed to be warm and caring as the grieving father, helping his son as he feels the neglect love can inflict and he tries to impress his crush at school. Thomas Sangster excels as the pining Sam, head over heels for the most popular girl in school. Andrew Lincoln and Keira Knightley rise above the limitations of their tale to give us the now memorable scene of him professing his love for her through cue cards. Hugh Grant and Martine McCutcheon are good as the lovestruck PM and the junior member of staff who are drawn to each other in a reversal of the Notting Hill formula. Fun cameos are provided by Rowan Atkinson and Billy Bob Thornton.

It may be sentimental and cloying, but Love Actually does manage to warm the heart and doesn’t fall into the same old convention of everyone ending up happy. The fact that some of the relationships in the film don’t work makes it more interesting and not as clichéd as many a romantic comedy. Not for everyone, but cosy and festive viewing for romantics.

Monster’s Ball

Tags

2000's, Billy Bob Thornton, Drama, Halle Berry, Heath Ledger, Marc Forster, Monster's Ball, Peter Boyle, Sean Combs

Film Title

Monster’s Ball

Director

Marc Forster

Starring

• Billy Bob Thornton as Hank Grotowski
• Halle Berry as Leticia Musgrove
• Heath Ledger as Sonny Grotowski
• Peter Boyle as Buck Grotowski
• Sean Combs as Lawrence Musgrove

Monster’s Ball is a compelling story of family, redemption and grief in the South. Anchored by the performances of Billy Bob Thornton and an Oscar-winning Halle Berry, it focuses on the slow personal bond emerges between two very different characters as they navigate their way through tragedy. It may be tough to watch at times, but the performances and the sensitive script make Monster’s Ball worth viewing.

Hank Grotowski is an embittered corrections officer in the Georgia State Prison. Sonny, Hank’s son, also has the same job as his father. Their personal lives are bleak with Hank having a deep hatred of Sonny and living with Hank’s racist father Buck, who although failing in his health, still rules the house with an iron will. At the moment, they are to undersea the execution of Lawrence Musgrove, a convicted murderer with a talent for drawing. Whereas Hank doesn’t get involved personally with Lawrence, the more understanding Sonny sees the good in him. When they are to execute Lawrence, the proceedings really get to Sonny who vomits and can’t go through with it. After Lawrence is electrocuted, Hank berates Sonny for his weakness. Meanwhile, over the years, Lawrence’s wife Leticia has visited with his son. Leticia is tired of coming to the place and is failing to keep her house running, whilst raising her young son all by herself. Later on, when tragedy strikes for both Hank and Leticia, they are suddenly thrust together and slowly form an unlikely but powerful bond with each other as they attempt to heal the deep wounds of loss. Against this backdrop of grief, Hank and Leticia are able to connect with each other and finally open up about their personal demons. Cue for intense acting, high drama and a sensitive relationship that emerges between these two flawed and human characters.

For the first half hour or so, I was initially unsure of Monster’s Ball. The slow pacing felt like it would be an arduous journey, but then I realised the purpose of this was to build on the complexities of these characters and I began to see the good in the picture. Although very bleak at times, there is still that glimmer of hope between the characters that saves Monster’s Ball from sliding into constant misery. Once the film hits its stride, boy does it soar to dramatic heights. The tough but also very sensitive screenplay shows us wounded characters in need of someone to open up to and care for them and manages to tackle issues of racism and bigotry. Although racism does play a part in the film( prominently in the case of Hank’s father), it isn’t the main theme of the piece but the way it is shown is still powerful written. The main theme is the gradual connection of two souls understanding what the other is going through. We subtly gain insights into Hank and Leticia’s characters and how each one of them changes the other in the process of their relationship. At times Marc Forster’s directing style is at odds with the narrative, but for the most part he fashions a powerful film about the complexities of the heart and the way people just need someone to listen to in a time of sorrow.

The biggest asset to Monster’s Ball has definitely got to be the talented cast. As the embittered Hank, Billy Bob Thornton manages to convey a deep sadness and a certain amount of hope as his worldview changes and he resents his father’s opinions. The real standout performance is Halle Berry, who collected a well-deserved Oscar for her role. She conveys so much of Leticia’s emotions, from her grief, vulnerability and tired pain to her gradually deep understanding of Hank. There is one particular moment that I will always remember of Berry’s performance. In it, the camera focuses on her face and you see the various emotions almost simultaneously flash across it. It is an outstanding moment that showcases Halle Berry’s range as an actress. Even though many remember the pivotal love scene between Hank and Leticia, it is not there just to be sexy, it is there to showcase the connection between the two as they open up the deep emotional scars that lie beneath the surface. In the supporting cast, Heath Ledger shines with his brief appearance as the hated Sonny, who desperately wants a connection with his distant father but unfortunately never gets it. Peter Boyle is a surly presence as the ailing but angry racist who begins to push Hank to breaking point as he berates him over his choices. In the role of Lawrence, Sean Combs excellently plays the catalyst of the story with a great amount of sensitivity.

Difficult to watch at times due to some unpleasant violence and the flawed yet very realistic characters, Monster’s Ball is worth watching as a powerful study of grief, human connection and redemption. Aided by two powerful performances, Monster’s Ball is compelling and equally dramatic.