Four Lions (2010)

Plot summary: centres on a group of frustrated Muslim men in Sheffield who're plotting a suicide bomb attack to coincide with the London Marathon.

Chris Morris, writer and director of Four Lions, is best known for his satirical comedy shows, such as The Day Today and Brass Eye, which deftly deconstructed news broadcasting, issues-based and general British televising to hilarious affect. They dealt with a number of controversial subjects ranging from drug use all the way through to paedophilia in such a way as to demonstrate how badly they’d be misrepresented and exaggerated by the media. With Four Lions, a comedy about suicide bombers, Morris presents himself with his biggest challenge yet and I have to admit, I was unsure as to whether even he could pull the concept off in a tasteful and constructive manner. As such, I feel relieved to say that Four Lions is a side-splittingly funny, surprisingly moving and above all, extremely important film.

You may be asking yourself how anything about a group of British jihadists could be considered funny, and rightly so (provided you haven’t seen the film’s trailer of course). In making Four Lions, Morris seems to have taken a leaf out of Charlie Chaplin’s book as he channels the spirit of The Great Dictator thorough the film. He turns fear into laughter, to see these men as fools rather than people to be afraid of, and it works perfectly. There are far more failed attempts at suicide bombing, especially in Britain, than there are successes and Morris himself describes the film as portraying the, “Dad’s Army side to terrorism". In Four Lions our motley crew of would-be bombers are completely and utterly inept and although it doesn’t always feel right to do so their blundering ‘antics’ (planting bombs on crows, running through the streets whilst trying not to drop explosives) will have you laughing from start to finish.

There’s a lot more to the film that just slapstick routines and laughing at buffoons though as it’s not just about what these characters are doing – but why. Barry is a white Muslim terrorist, a funny enough concept as it is, who wants to blow his own faith’s mosques up in order to, “stir shit up”. Waj, who is a little slow to say the least, is simply copying his brother’s behaviour as he shouts hilarious lines such as, “Fuck Mini Babybels!” to join in. Meanwhile Fessal is a part of the group because otherwise he’d be, “eating newspaper instead”. These men (save for the main character, Omar) have no real clue as to what they’re fighting for and why and provide the source of much of the film’s hilarity (not to mention social commentary). These characters would be nothing, however, if it were not for the brilliant cast Morris has assembled to play them. They excel as standalone actors but also share a collective comic timing and ability to play off of one another which becomes one of the films greatest pleasures.

The films portray of various people connected to the bombers (police, politicians, bewildered co-workers and oblivious neighbours) is also one of its comedic strong points. Towards the end of the film this reaches jet-black levels of hilarity as a duo of police snipers argue over the difference between a Wookie and the Honey Monster whilst taking pot-shots at runners in the London Marathon. Thankfully Morris is also careful not to take aim at the underlying ideology or religious beliefs that drive these men (except for a rather funny swipe at their sexist attitudes) and knows exactly when to reign in the laughs to show the horrific consequences of their actions. Four Lions is a surprising film, not just because it manages to make suicide bombers funny, but because it’s also genuinely moving. Morris’s script, and the actors themselves, really sell these characters to you as three-dimensional people, instead of the usual perceived stereotypes of suicide bombers. As a result, while you’re never meant to agree with what they’re doing, you really engage with them on an emotional level.

You’ll care about what happens to these characters and some scenes may actually tug on your heart strings a little. The fact that Morris has shown little capability for human drama on this level in the past, and that he is able to balance it so well with the comedy, makes it all the more impressive. At other times Four Lions is also a downright disturbing film. The scenes of Omar’s home life in particular are some of the weirdest and disturbing moments of cinema this writer has ever witnessed. Whether it be Omar’s son getting excited at the prospect of his father’s ‘martyrdom’ or Omar altering the plot of The Lion King in order to brainwash his child, it’s truly chilling stuff. Omar’s discussions with his wife about his plans might as well be about a family holiday they’re that blasé. Many will undoubtedly misinterpret these scenes as Morris trying to make you feel sorry or side with Omar but it’s the other way around; these moments reveal him to be a thoroughly untrustworthy, manipulative and irresponsible human being.

My only real criticism of the film is that there is slightly too much broad humour present. Whilst there’s nothing intrinsically wrong with slapstick and laughing at moronic characters, I would have liked to have seen a little less of this and slightly more of the intelligent and intellectually challenging comedy Morris is known for. Similarly, a lot of Morris’s humour often came from the visual style of his television work and, save for a few moments, Four Lions is devoid of such techniques. That said, the film differs from his previous work in that focuses on human drama so perhaps a heavier visual style would have undercut this. Despite these minor grievances the film still stands as one of those rare beasts; an independent film with an important message that has mass appeal. Four Lions is brave, entertaining and essential cinema at it's best.

Final Verdict: 9/10

Cemetery Junction (2010)

Plot Summary: In 1970s England, the lives of three friends are forever changed when one of them bumps into his old school sweetheart.

Ricky Gervais and Stephen Merchant first made names for themselves with TV shows The Office and Extras, and rightly so. Both were cringe-inducing but hilarious and heartbreaking pieces of television that deserved all the attention they garnered. Putting aside Gervais’s State-side directing gig, The Invention of Lying (Merchant wasn’t creatively involved and it was a pretty poor film), Cemetery Junction sees both making the big move onto cinema screens. Cemetery Junction isn’t quite what you’d expect from the people that brought you characters like David Brent or Andy Millman, but instead sees Gervais and Merchant shifting gears somewhat and delivering a heart warming coming-of-age story set in the 70s. With Cemetery Junction both directors have crafted an astute and beautifully presented début that, despite being slightly too melodramatic and predictable, is as funny as it is moving.

Cemetery Junction creates a believable 1970s without relying too heavily on stereotypes, name-dropping or cultural iconography. Instead the film services its period details on a subtler level; snippets of overheard news reports, trends in fashion and a brilliant soundtrack all give you a sense of the times without shoving it in your face. The film is also beautifully shot; Gervais and Merchant paint a picturesque vision of the British summertime that creates an uplifting tone rarely seen in domestic films dealing with suburban life. Not content in just bringing a beautiful vision of Reading to the screen, the film-makers also leave room for some astute experimentalism with sound and image. A scene later on in the film in which a night out on the town goes horribly wrong features a nicely stylised piece of slow motion as images distort and sound deteriorates piece by piece.

Gervais and Merchant show no signs of losing their eye for character based comedy either. The inter-play between Freddie’s father and grandmother is priceless and the railway cafe owner is hilariously crude in a way only the British can truly appreciate. The laughs on offer here come thick and fast and come in a variety of forms (ranging from broad to contextual humour), but never threaten to overcome the dramatic tone of the film. The central plot of the film, Freddie’s attempt to find meaning in life and escape from his home town, is thoroughly moving and delivers an important, positive and up-lifting message. It’s when Cemetery Junction spends more time on its other characters, however, that it really carries some dramatic weight. Sub-plots focusing on Freddie’s best friend Bruce or his boss’s loveless marriage are handled with grace and are truly heartbreaking. It’s in these moments that the film transcends its funny coming-of-age genre template and becomes something far more emotionally rewarding.

All of this would of course mean nothing if it were not backed up with credible performances. Thankfully both Gervais and Merchant have assembled a brilliant cast which utilises a great combination of both new and old talent alike. Out of the three younger leads it’s Tom Hughes’s Bruce that stands out; his simmering rage and cocky stride hide a wealth of demons which are perfectly portrayed by the young actor. Elsewhere Gervais does well to cast himself in a small, comedic supporting role (not to mention Merchant’s brief but brilliant cameo) and veteran actor Ralph Fiennes does a terrific job with his self-centred and ruthless corporate boss, Mr. Kendrick. The true stand out performance here though is Emily Watson, playing Mrs. Kendrick. She has few scenes and says and does very little in them but Watson manages to provide the strongest emotional punch just by using her body language to convey a tragic world of isolation and regret.

Even though Cemetery Junction is an assured début, it’s by no means a perfect film. Gervais and Merchant do the best they can to prevent the film from being overly sentimental but a few cheesy moments still slip through. No matter how Felicity Jones delivers lines like, “Throw your heart out in front of you and run ahead to catch it” or “I think I might be in love with you too” (and Freddie’s annoying habit of repeating everything she has to say) they’re still going to sound melodramatic. Cemetery Junction is also extremely predictable as many moments in the film (including the films conclusion) will come as no surprise to anyone watching. All the loose narratives threads are tied up and everyone lives happily ever after. This, of course, comes with the territory but a couple of surprises along the way wouldn’t have hurt. Nevertheless, Cemetery Junction is a fine film from Gervais and Merchant and I wholeheartedly look forward to seeing what they come up with next.

Final Verdict: 8/10

Cop Out (2010)

Plot Summary: A comedy about a veteran NYPD cop whose rare baseball card is stolen. Since it's his only hope to pay for his daughter's upcoming wedding, he recruits his partner to track down the thief, a memorabilia-obsessed gangster.

Let me start my explaining that I’m fully aware Cop Out isn’t released in the UK for another month but I’ve had the pleasure (and I use that term loosely) of catching it early, so consider this an advance review (read: warning). Director of Cop Out, Kevin Smith, has made his name and career by combining crude comedy with heart-felt relationship drama and has had a run of two particularly good films of late (Clerks II and Zack and Miri Make a Porno). When Zack and Miri made far less money than expected, however, Smith opted to shoot someone else’s script for the first time and hopefully regain his loses. The resulting film is Cop Out, an almost unforgivably bad comedy/action hybrid starring Tracey Morgan and Bruce Willis.

What is most frustrating about Cop Out is that in parts, it’s actually hilarious. The opening scene in which Morgan’s character interrogates a petty drug dealer only using film quotes is brilliant stuff. Later moments including a ten year-old car thief and banter with another pair of police detectives had me laughing out loud. Both Willis and Morgan are capable comedians and they work well here but it’s Seann William Scott who steals the show. His ecstasy addled, parkour loving house thief only appears in a handful of scenes but Scott brings more enthusiasm to his role than Smith probably did to directing the entire film. The use of licensed tracks from artists such as The Beastie Boys, Run DMC and Cypress Hill in the soundtrack also demonstrates a great taste in rap music which fits the tone of the film well.

The main problem with Cop Out is that the laughs are extremely inconsistent. As stated, there are some standout comedic moments but overall the jokes are usually embarrassingly bad. They either feel stale and outdated or just fall flat on their face and it’s largely down the script. This is, put simply, a badly written film and why Smith didn’t at least rewrite some of it is anyone’s guess. Not only are most of the jokes terrible but there are even characters who are clearly meant to be funny (such as the opposing pair of detectives or the stereotypical Mexican drug dealer) but in reality just aren’t in the slightest. Cop Out is also meant to be an action film but even fails in that department. Smith hasn’t dealt with action scenes on this scale before and it shows like a skid-mark on a pair of bright white undies. The action scenes in Cop Out are so terribly edited together, boring and uninspired that by the final scene I switched off entirely until people started talking to each other again.

Another issue with the film is with the central casting. Morgan and Willis can do comedy but together are an unconvincing pair of lifelong police partners. They don’t have the chemistry of so many great odd-matched actors in the past and it shows. Every time Cop Out gets ‘serious’ and wants us to feel sorry for Willis as he struggles to pay for his daughter’s wedding or Morgan and his marital doubts we don’t care. The casting and writing prevents us from having any sort of empathy for these two men as they’re not convincing enough and the drama isn’t meshed well with the rest of the film. The awkward original soundtrack and the predictable and meandering plot also work against Cop Out.

Apparently, Smith sought to make a film in the 80’s ‘buddy cop’ tradition which is why the plot seems so utterly pointless and the original soundtrack so horribly outdated. The more likely scenario is that Smith was asked to direct a modern comedy/action and then tried to crow-bar in the aforementioned homage and it fails spectacularly. Consequently, and as a lifelong fan of Kevin Smith, it’s sad to say that perhaps he really can only pull off the indie dramedies he’s best known for as Cop Out is all too fitting a title.

Final Verdict: 3/10

Whip It (2010)

Plot Summary: In Bodeen, Texas, an indie-rock loving misfit finds a way of dealing with her small-town misery after she discovers a roller derby league in nearby Austin.

You may be asking yourself why a twenty two year-old male would be interested in a film like Whip It, a coming-of-age story for teenage girls, but I’ve been looking forward to seeing this film for months. Three things in particular stood out for me, first of all being that it stars Ellen Page (who is clearly one of the most attractive actresses around at the moment). It’s also directed by veteran actress Drew Barrymore getting behind the lens for the first time and the trailer and subject matter gave off a really interesting alternative, punk vibe. Both Page and Barrymore are impressive here, and it’s certainly a good film, but what Whip It lacks is anything to truly set it apart from the millions of other coming-of-age films available.

One thing that Whip It cannot be faulted for is its soundtrack which is pitch-perfect from start to finish. Barrymore has chosen an eclectic selection of rock, punk and indie songs from artists such as The Strokes, Radiohead, Peaches and The Ramones which all compliment the ‘alternative’ and energetic atmosphere of the film well. In addition to these licensed tracks The Section Quartet (best known for doing orchestral versions of popular rock songs) provides a fitting original soundtrack which never overdramatizes what’s on screen. The film is also very funny in parts. Whether it be Ellen Page’s Bliss turning up to a beauty pageant with blue hair, or the roller derby celebrating their reputation as losers with the utmost passion, there are some really good lines and comedic moments throughout. The narrative set-up and basic storyline are also fairly unique, I couldn’t name you another film about a teenage girl who joins a roller derby team, and is well portrayed for audiences unfamiliar with the sport.

Scenes of the roller derby matches are exciting , well shot and depicted with a real sense of enthusiasm. In fact Barrymore does a very good job at her first directing gig and rarely makes any of the usual amateur mistakes or awkward directorial missteps. It seems as if all her time around film-makers has paid off because, other than the small scale of the film, nothing about Whip It would lead you to believe that this was someone’s first film. She’s also managed to assemble a highly credible cast for her cinematic début. Ellen Page isn’t exactly stretching herself here but she doesn’t phone it in either and Juliette Lewis looks as if she’s as happy to be acting again as we are to see her doing so. It’s Marcia Gay Harden who gets the stand out role though, her performance as the controlling mum whom slowly grows to understand Bliss’s adolescent angst is portrayed with the perfect combination of wisdom and anxiety.

Where Whip It fails, however, is in terms of the core storytelling. Strip away the ‘alternative’ focus and the roller derby theme and it’s pretty much your cardboard cut-out coming of age story. Bliss is forced into an activity she hates by her mother, rebels and finds a somewhat dangerous new hobby (not to mention boys and alcohol etc.) and grows as person because of it. Shauna Cross, writer of the source novel and screenplay, doesn’t really try and break new ground with the genre and you’re left feeling a little short changed at the end of the day. Additionally, Barrymore and Cross don’t attempt to experiment with form in any context whatsoever which leaves the film feeling a little pedestrian. I’m not asking for Lynchian levels of experimentation here but a little use of style would have gone a long way. Nevertheless, Whip It is a decent rights-of-passage film with an indie twist that will please likeminded audiences who are going through, or have already gone through, this particular moment in their lives.

Final Verdict: 7/10

Micmacs (2010)

Plot Summary: A man and his friends come up with an intricate and original plan to destroy two big weapons manufacturers.

Director Jean-Pierre Jeunet makes films of the Marmite variety; you’ll either love them or hate them (and I’ll admit outright - I fall into the former category). His quirky French tales continue to divide audiences due to his preoccupation with oddball characters, distinctive sense of humour and unconventional cinematic style. However, as opposed to someone such as Tim Burton, Jeunet has not yet become a caricature of himself due to his somewhat meagre output over the last eighteen years. Micmacs, his first film in five, is being billed as somewhat of a comeback and has been described as a synthesis of his first film, Delicatessen, and his breakout hit; Amélie. Herein lies the problem with the film; while it’s certainly solid filmmaking and highly enjoyable, Micmacs feels a little like Jeunet’s very own Sleepy Hollow.

Micmacs feels as if it’s missing something, that original spark which made his earlier films such a joy to watch. The previously mentioned comparison is very telling for the film is neither as darkly twisted as Delicatessen, nor nearly as touching as Amélie. Micmacs once again tackles the old theme of outsiders fighting for justice, scenes detailing the minute details of individuals’ habits; even the end credit sequence is lifted straight from Delicatessen. There is, however, much to love about the film. Micmacs is beautifully shot in Jeunet’s signature gold hue throughout which really brings the screen to life and aptly conveys the fantastical world of the narrative. The weird and wonderful characters all have their own, distinctive qualities and are all likeable to the extent that you wish you knew them in real life. Their schemes and inventions are all highly creative, making a lot of the scenes feel like watching something in between a circus show and an art exhibition. All the while a playful, typically French sounding orchestral soundtrack perfectly complements these eccentric characters and their exploits.

The actors themselves do a wonderful job, with Danny Boon (playing the main character, Bazil) giving the standout performance. Boon is apparently a major comedic actor in France but has not since found fame outside of the country which is a shame. His mannerisms, miming and general screen presence provides a lot of the film's laughs and as such Boon becomes of the best things about the film. Micmacs is also very clever in its delivery and comedic tone; more than several scenes had me laughing out loud. The story of corrupt weapons dealers, however unconventionally portrayed, is an important one which has many parallels to contemporary French (and worldwide, for that matter) politics even if it is rather predictable in its conclusion. All in all Micmacs is a very amusing and heart warming film but, in drawing a little too much from his previous work, Jeunet falls just short of brilliance.

Final Verdict: 7/10.