Posts Tagged ‘ The Odeon ’

ABSOLUTELY FABULOUS:THE MOVIE

Absolutely Fabulous:The Movie
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It was with more than a slight feeling of trepidation that I approached this film; a spin-off of a much loved television show which captured and parodied a particular zeitgeist in PR and fashion in the early to mid nineties. The central characters Edina (Eddie) Monsoon and Patsy Stone- respectively Jennifer Saunders and Joanna Lumley- became an instant success and legendary comedy figures with every pair of girlfriends who had ever shared a glass of cheap fizz believing they were one of the two and adapting to their roles accordingly.
The series began to pall in the late nineties and the spark failed to re-ignite as comeback series after comeback series failed to generate the same laughs or capture the current climate as successfully as the original runs did; the less said about the 2012 Olympic themed one-off ‘special’ the better.
However, as if to make sure that a dead horse has been properly flogged, Saunders was persuaded that what the world really needed was a full length movie version of a show which peaked over twenty years ago. Thus we find ourselves with Absolutely Fabulous: The Movie and with the country on the brink of chaos after the recent Brexit result it would seem that a bit of comedy is just what we need to cheer up what is quite a miserable time.
Or at least that is the theory!
The film is based around the premise that Eddie’s PR firm, which at best was a nebulous concept anyway, is in dire straits and needs some serious attention or at least one decent client. As if on cue it transpires that Kate Moss is seeking new PR and therefore Eddie sets about pursuing this dream client but inadvertently ends up pushing the supermodel off a balcony and into The Thames, where everyone assumes she drowns.
Eddie quickly finds herself accused of her murder- the only thing that really gets murdered in this film is the Scottish accent left in the incapable and culpable hands of Lulu- and an international hate figure, which combined with her business and financial woes, forces her into fleeing the country conspiring with faithful cohort Patsy who believes she is still such a catch that she can attract a rich playboy who will fund their lives in the champagne lifestyle they feel (self) entitled to.
Around this juncture the whole movie degenerates even further into predictable farce and there is even a ‘Some Like It Hot’ styled plotline you see coming a mile off.
I am not sure quite why Saunders chose to make this film as it is clearly way past its peak and although she and Lumley are as brilliant as ever in their roles there is a feeling they are sleepwalking their way through them; they even on occasion throw out a few greatest hits moments. The thing is, due to re-runs and box sets, these are not as funny as they should be as familiarity alongside predictability are the curse of any comedy.
The roll call of celebrities doesn’t help matters – the aforementioned Lulu, Emma Bunton, Lily Cole, Christopher Biggins, Jon Hamm, Stella McCartney, Jean Paul Gaultier and a particularly wooden Kate Moss who clearly doesn’t have a career as an actress lying ahead of her.
Eventually the best thing I can say about this film is that it was mercifully short- apparently the editing suite did the bulk of the work in trying to salvage anything remotely watchable. If anything the whole concept felt dated and irrelevant –surely even Eddie and Patsy in a desperate bid to remain current would now drink Prosecco rather than insisting on Bolly- and the laughs were the thinnest thing in the movie. A much better option would be to open a bottle of fizz, get a few friends round and watch a box-set or an early series on Netflix. With the weather outside you are more in need of a brolly than Bolly anyway!

MOON DOGS

Moon Dogs
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This original coming of age story directed by Philip John is actually a delight of a film. A talented and attractive young cast carry the bulk of the film but they are ably supported by an experienced supporting cast which gives the film am all round consistency lacking in a few other offerings at this year’s film festival.
Michael (Jack Parry Jones) and Thor (Christy O’Donnell) are step brothers from Shetland who despite their physical proximity share little common ground nor ,it would seem, are interested in finding any. Michael is uptight, impulsive , irritating and reactionary whilst Thor locks himself away making music and is contained and controlled.
After a series of close to home events however they both take off together on a trip to Glasgow for wildly different reasons: Michael to win back his recently departed girlfriend and Thor to try to track down the mother who abandoned him as a baby.
Their journey gets off to a bad start after gate-crashing a wedding by posing as the band hired to play. They are rescued by Caitlin(Tara Lee) who stops them from being almost lynched not once but twice but before long she is dragging them into even more serious situations of her own ,making.
By the time the three of them actually reach their destination relationships have been even further complicated by sexual tensions between the trio leading to a full on physical fight between the two step-brothers which leaves their brief attempt at unity and opening up to each other, the latter at Caitlin’s prompting and probing, at something of an impasse.
Both Parry Jones and O’Donnell bring an extra dimension to their characters (O’Donnell’s brooding, good-looking and natural film star looks also help in this respect) and although Lee is just as accomplished in her role unfortunately her character is not as defined as the two male parts and thus she often comes across as flighty and lacking in depth. The supporting cast includes Tam Dean Burn, Shauna MacDonald and Denis Lawson who also bring humour and pathos to their respective roles.
Able to shift from comedy to despair and heartbreaking melancholy without missing a beat the film is coherent and smooth.
Definitely a highlight of this year’s film festival you should get to see this film if you can.
Moon Dogs is showing at Cineworld on Fri 17th June at 20.50, Saturday 18th June at 15.40 and as Best of The Fest on Sunday 26th June at 20.25

BURDEN

Burden
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Immortalised on David Bowie’s ‘Heroes’ album in the track ‘Joe The Lion’, performance artist Chris Burden caused quite a media splash with his wayward attitude to what passed for art in the heady and inventive nineteen-seventies. Whether it was being shot, electrocuted or crucified on the back of a Volkswagen Beetle- the inspiration for the aforementioned Bowie track- his attitude and daring made him simultaneously notorious and ridiculed.
Directed by Tim Marriman and Richard Dewey the film covers the whole transition of Burden’s varied and fascinating career: from its outrageous beginnings to mainstream acceptance and recognition from the art world’ Later in his career he revisited his original sculpture beginnings to create exceptional works and installations with exquisite precision which entrance and intrigue even today.
Sadly Burden passed away five days before his last work went on public display but lived long enough to see it was properly installed and in full working order capturing what he loved to refer to as ‘The Moment’.
His personal life was no less colourful as he moved from the stability and encouragement of his first wife and her calming influence to the erratic, sex and drug fuelled relationship with the young assistant he cheated on her with. As the drugs took more and more of a hold on him his behaviour became wilder and wilder until those around him feared not only for his sanity but their safety.
This film will be of interest to anyone who appreciates the changing art scene of the late twentieth century which Burden became a pivotal figure in. Amusing moments come from the elderly plummy-vowelled art traditionalist who rejects Burden’s work as a scam to simply gain notoriety. Burden himself emerges as a fascinating character who was always willing to take things to extremes and not only present his art but immerse himself so far into it that in his later career became almost invisible as the art gained the attention he had once sought for himself.
Burden is showing at Cineworld on Thursday 16th June at 20.40 and again on Friday at 18.15.

THE COLONY

The Colony
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Despite being based on true events surrounding Pinochet’s takeover coup in 1973 this Florian Gallenberger directed film often feels totally implausible and most certainly relies on a fictional take and created scenes.
Starring Daniel Bruhl who after involving himself in anti-Allende protests in Chile, finds himself arrested and sent to a remote religious cum experimental colony where he undergoes torture and Electroconvulsive Therapies which his captors believe have rendered him mentally retarded. However this is not so and he is hiding behind this façade until he works out a way to escape.
Meanwhile his air-hostess girlfriend played by Emma Watson decides to check herself into the sinister facility with an aim to finding him and getting him out.
What follows is a series of missed opportunities, random occurrences-in one scene Bruhl picks up a pole in gesticulation and taps on a barn floor only to discover a trapdoor which hides a series of well-lit tunnels which will aid their escape- and other unlikely situations.
Although the film is based on the real life Colonia Dignidad where many very real horrors occurred-torture, child abuse and indoctrination to name a few- the film never encourages you to suspend your disbelief therefore nothing ever really adds up. Even the most brutally gruesomely scenes seem overly staged, so you never feel any real empathy or fear for any of the victims.
Bruhl is convincing enough in his role but Watson seems to be playing her part by proxy. Wide eyed and innocent she never really convinces as someone who would put herself into this situation never mind be able to go through the horrors which follow.
As for the supporting cast they all seem to resemble pantomime villains, lacking only masks and capes.
It is not an un-enjoyable film however. Fast paced and attractive to look at it passes by and catches you up in its energy even if you do find the scenes being played out quite unbelievable. It is unfortunate that such a gloss has been applied to this film as I believe there is a very good story waiting to be told and a very good film to be made out of it. Sadly this film doesn’t quite hit the heights it aims for.
The Colony is showing at Cineworld on Wednesday 22 June at 18.05 and again on Sunday June 26th at 18.05

GARY NUMAN; ANDROID IN LA LA LAND

Gary Numan: Android in La La Land
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Admittedly I have never been a huge Gary Numan fan; the sub Bowie posturing always felt second-hand and dated while his music, although electronic, seemed to be one-dimensional, clunky and droning as opposed to the liquid fluidity, crisp conciseness and melodically organic works of Kraftwerk.
Some of my disdain may have come from the universally and unrelenting awful press he received at his peak- let’s not forget how huge he was at this time- where he was slated almost on a daily basis but Numan did little in interviews to change my views coming across as arrogant, stiff, overly serious and lacking in humour with conservative- and Conservative- views. The fact that he married his number one fan did little to endear him any further merely confirming him as a little sad and desperate.
It transpires that this aloofness was in fact due to him being a lifelong Asperger’s Syndrome sufferer prone to bouts of panic and extended periods of depression and within the opening minutes of this film I am surprised to find myself warming to him as he presents a far more human, warm and compassionate person than I could ever have imagined.
This film by Steve Read and Rob Alexander finds him in a period of transition about to release a new album while also negotiating a move to Los Angeles with his wife and three daughters. It is also a period where him and Gemma have both recovered from extended bouts of depression and are piecing their lives and relationship back together again.
There is not much focus on Numan’s past successes and instead the film deals with the present day and how Numan needs to make a mark on the current scene in order to survive.
In this instance a move to America is a canny move as he always had more acceptance there as his music , not dragged down by his android image, found a new audience too young to catch Bowie and a hip hop crowd who found his robotic beats and sounds perfect for sampling; providing the perfect soundscapes for their futuristic ideals. Fans such as Trent Reznor also played a part in his resurrection, making him more acceptable to a younger audience.
Both Numan and Gemma come across as warm and comfortable with each other and it is this which makes the film watchable even if they overplay the depression angle a little too repeatedly. At the end of it I would even openly admit to liking such Numan tracks as ‘Cars’ ‘Are ‘Friends’ Electric’ and ‘Me, I Disconnect From You’ –which I would never have conceded back in the day- and found myself wanting to check out his new album.
Gary Numan: Android in La La Land is on at Cineworld on Tuesday 21st June at 20.50.

THE MODEL

The Model
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Sixteen year old Emma- an impressive debut performance by Maria Palm- leaves her Danish hometown for Paris with high hopes of becoming a successful model after landing a contract with an agency. However her naiveté and innocence are of little use to her in the cut throat world of modelling and on her first assignment she messes up big time and almost finds herself on the first flight home.
Later that evening finding herself coerced into a night out by her roommate Zofia she spies the handsome, successful and older photographer Shane (Ed Skrein) who dismissed her from the aforementioned photo shoot and feeling bolstered by a new-found confidence and determination makes a move on him.
Before long her career is back on track and with Shane treating her as his muse it goes from strength to strength with prestigious publications and designers all clamouring for a piece of the hot new girl in town.
Still emotionally unstable however it doesn’t take long for the cut throat world of the modelling and fashion industries to leave her insecure, unsettled and unstable. Too young to recognise who her real friends and allies are, making her open to manipulation, she makes several misguided judgments and before long both her life and career are in a tail spin.
Director Mads Matthiesen coaxes a worthy performance out of Palm; she exudes the right amount of vulnerability, innocence and later unhinged madness, but at all times keeps a blank mannequin’s façade almost impossible to scrutinise. This lack of emotive detail on her face is perhaps the character’s greatest strength; we never quite know what she is thinking.
The supporting cast provides a suitable beautiful backdrop for the dramas to play themselves out although the performances are all noteworthy too.
The fashion and modelling industry doesn’t come out of it all too well, with a lot of slippery characters at the helm of all the major moves and decisions; but surely that will come as no surprise to anyone these days. At the end of the day The Model merely confirms that the industry which manipulates these young girls expects them to be wise beyond their years if they want to survive but unfortunately that is very rarely the case and often they end up damaged. This film highlights the damage done not only to the young girls but to those they come into contact with.

A PATCH OF FOG

A Patch of Fog
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This thriller directed by Michael Lennox is murky in its ambitions and what it is trying to say even if the two central leads Michael Graham and Conleth Hill bring gravitas to their performances which lend the film some kudos and believability.
It is a thoroughly engaging ride which follows the awkward and unlikely relationship between a lonely security guard, Robert (Graham) who vacillates between desperate childlike innocence and psychopathic stalker with comparative ease, and Sandy Duffy( Hill) who, having made a splash with his debut novel which he has been unsuccessful in following up, now teaches creative writing classes and appears on television review shows.
Despite having the trappings of fame and wealth Duffy still needs to shoplift to add an extra thrill dimension to his apparently idyllic life where he is deeply respected and admired.
Matters change when he steals a pen in a bargain shop where Robert works as a security guard and in order to avoid prosecution agrees to go for a drink with him after he is apprehended. Thinking that if he does this once then the matter will be forgotten and Robert will hand over the CCTV footage disc and life will continue pretty much as before.
Robert however has different ideas and is determined that their tenuous relationship will blossom into a deep and meaningful friendship. The situation swiftly spirals out of control however and takes on an ever more sinister aspect as Robert tries to insinuate his way into every nook and cranny of Sandy’s life until eventually it ends in tragedy.
There are several plot holes in this film not least would a minor shoplifting charge for the theft of a pen really throw someone of Sandy’s supposed intelligence and standing into such a tailspin where they would risk so much more by entering onto a path of destruction that is not so easy to back away from once the journey has begun? Surely he would realise his crime is minor to the point of negligible and he is hardly a star of such standing that it would make headline news; so the film is fatally flawed from this perspective alone.
However despite this it is still a gripping and absorbing thriller which never lets up throughout. Graham’s character is particularly hard to read and he carries off his role with a convincing nasty intensity combined with childlike hurt depending on how he wants to manipulate the situation.
All in all despite the flaws in the story the film is a success and the ending when it comes is as unexpected as it is somewhat inevitable.
A Patch of Fog is showing at Cineworld on Monday 20 June at 20.35 and again on Wednesday 22nd June at 20.50
A Patch Of Fog gets a full UK cinema release on July 8thn and a digital online release on July 11th.

ADULT LIFE SKILLS

Adult Life Skills
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This offbeat comedy drama is probably the most enjoyable film I have seen thus far at this year’s EIFF. Both funny and moving in equal measure it crosses the divide between comedy and drama successfully in a way others can only dream about. Written and directed by Rachel Tunnard and a top-notch cast including Jodie Whittaker, Brett Goldstein, Lorraine Ashbourne at the helm but buoyed up by an equally strong supporting cast including promising young newcomer Ozzy Meyers as Clint a troubled young boy that the film’s central protagonist Anna (Whittaker) bonds with in an unlikely alliance.
Unable to cope with her twin brother’s death Anna has retreated into her mother’s garden shed which she now inhabits and spends her time making videos with her thumbs as imaginary characters who articulate her inner turmoil. Refusing to engage with the real world this retreat into a fantasy life causes friction with her mother who is close to the end of her tether.
The return of old friend Fiona briefly restores some of her old persona but eventually even this starts to pall for her while the attentions of the handsome and kindhearted Brendan(Brett Goldstein) also have little effect on her moribund nature.
Assigned the task of keeping an eye on troubled youngster Clint, whose mother is terminally ill, at the child-minding group she works at initially seems as fruitless a relationship as any other she has but over time and getting to realise how she is not alone in feeling troubled an unlikely bond is formed which helps to bring her out of her apathy and able to reconnect with the outer world again.
At times funny and at others sensitive Adult Life Skills cleverly negotiates its way through the divide with clarity, insight and sensitivity. Never does it feel mawkish or forced and the central character is frustrating and sympathetic in equal measures. Definitely a success story for EIFF Adult Life Skills is definitely worth catching.
Adult Life Skills is at Cineworld on Saturday June 18th at 20.45 and again at Cineworld on Sunday June 19th at 15.30

Maggie’s Plan

Maggie’s Plan
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With her biological clock ticking away and with no partner on the horizon Maggie (Greta Gerwig) decides to deploy a less traditional method in conceiving the much wanted child that has so far eluded her and sets herself a date for going through with her plan. However as the months pass and the date she has set aside approaches she still goes ahead with her plan and engages a suitable donor Guy (Travis Fimmel) but becomes involved with fellow married lecturer John( Ethan Hawke) first as a creative advisor but eventually as a lover.
Supposedly falling pregnant at the very beginning of their relationship, events overtake her and John leaves his controlling, self obsessed wife Georgette and he and Maggie embark on a happily ever after existence which while deviating from her grand scheme seems to suit her anyway.
However before long the idyllic existence begins to pall when Maggie realises that John is every bit as controlling, self obsessed and needy as his ex wife and thus she embarks on another plan to return him to her.
Directed by Rebecca Miller Maggie’s Plan sometimes feels as if it could do with a little more planning itself.
Gerwig lends a certain drollness to her character but sometimes it feels as if she is acting in a different film. Hawke is quite unobtrusive in his role playing John and his understated performance is well suited to the easily manipulated John who seems to do whatever suits him at any particular time.
Julianne Moore, on the other hand, overplays her part as the neurotic Georgette who originates from Denmark and her comedic timing is well utilised making her character the most dominant of them all.
All in all Maggie’s Plan fulfils its role as a comedy drama even if the plot twits are often not very surprising at all. It is an enjoyable film which is quite infectious and it will make you smile even if it is not particularly groundbreaking.
Maggies Plan is on at the Odeon Saturday June 18th at 20.55 and again on Sunday 19th at Cineworld at 20.35

LOST IN FRANCE

Lost In France
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Niall McCann’s documentary focuses on a 1997 trip by Glasgow independent label Chemikal Underground’s trip to Mauron in France using some original footage interspersed by that of a return visit in 2012 with some of the key players of that memorable trip.
Fondly remembered-that is what can be remembered as chemicals and alcohol played a large part in the .proceedings- by several key participants who recall what they can of events for this film including Mogwai’s Stuart Braithwaite, three quarters of The Delgados-Paul Savage, Stewart Henderson and Emma Pollock-, RM Hubbert and Alex Kapranos who made the journey prior to his Franz Ferdinand days. Grainy video footage provides essential visual confirmation of some recounted events and the graininess effectively presents it as hazy memories thus adding to the mystique and clouded judgment.
All the interviewees give surprisingly accurate and coherent accounts of what they remember but apart from Pollock and Kapranos none of them seem to have been treated too kindly by time. Therefore often the visual appeal of the film lacks the dynamic required for a film about the heady rock and roll lifestyle it so obviously wants to depict. Instead it relies on the articulacy of its contributors and luckily enough they all fulfil this criteria more than adequately with Braithwaite, Pollock, Henderson and Kapranos offering interesting insights and humorous anecdotes.
As stated before the video footage adds an extra dimension and although it is used sparingly and effectively the feeling lingers that perhaps a little more of this could have been included to provide a bit of visual treat as opposed to yet another middle aged man sitting in a bar talking about his misspent youth ‘back in the day’.
The film hinges on a return trip to the town of Mauron where those who made the trip give a repeat performance in a hastily assembled super-group. It is with a rendition of Franz Fedinand’s ‘Jacqueline’ that the film really feels like a rock and roll documentary for the first time and it is telling that it is with the inclusion of a song by a band that hadn’t even been formed on the original trip.
Often it feels as if Kapranos is there as a box office draw as although he was present on the earlier trip he wasn’t a central figure but despite this he is an interesting interviewee with a keen observer’s viewpoint. As the major success story of that scene it is also good to see him acknowledging his roots whilst affording them some respect.
If I am honest I found this film a little self indulgent and I can’t imagine it would hold much interest to a wider audience apart from those with a keen knowledge of the Chemikal Underground roster. Unlike last year’s EIFF offering ‘Big Gold Dream’ which focussed on the Edinburgh post punk scene there is distinct lack of charismatic characters- Kapranos and Pollock are the obvious exceptions- and it tends to drag towards the end. Definitely one for the fans who will no doubt love all the recounting of a mid-late nineties Glasgow scene they played some part in, but if you weren’t there this film is unlikely to make you wish you were.
Lost In France is showing at Odeon 2 on Thursday June 16 at 20.55