The Diary of a Teenage Girl

Marielle Heller's directorial debut The Diary of a Teenage Girl really packs a punch as a confronting film about sexuality, intimacy and coming of age. What sets this film apart from other films in this genre is that it is told through the lens of a teenage girl, and while this is a refreshing approach, it does heighten the tension and make the movie more real.

Minnie Goetze (Bel Powley) lives in 1970s San Francisco with her mother Charlotte (Kristen Wiig) and younger sister Gretel (Abby Wait). She is attracted to her mother's boyfriend Monroe (Alexander Skårsgard) and soon begins an affair with him, losing her virginity at the same time. Minnie soon begins an journey of exploring her sexuality joined by her friend Kimmie (Madeline Waters), but at the same time is under the watchful eye of her concerned stepfather Pascal (Christopher Meloni).

What caught me instantly about this movie was its tone. I had initially thought it was going to be a light comedy, and it is pretty funny in places, turned out to be a rather serious drama. And this is definitely a welcome fact. If this movie had been funny the whole way through, I think it would definitely trivialise the subject matter and say "Hey, girls can't be sexual beings." By taking it all seriously, Minnie's journey to adulthood is legitimised. The film's exploration of intimacy and feminism is greatly aided by the characters around Minnie, especially her mother Charlotte and Monroe. The exploration of drug experimentation also feels genuine and a little more scary than that idea of peace loving hippies you associate with experimentation around this time.

Although you could transplant this story into any decade since the 60s and still have it be effective, the choice to set it in the 70s was a good one, especially when you add the San Francisco setting into the mix. The muted colour palatte of the film really lends to that familiar look of the film and the soundtrack really cements this feeling. All the costumes also give the film a great authenticity. The film's editing and camera choices also stick out as technical elements that really help convey some of the subtle emotion of the film.

For someone with such limited screen experience, Bel Powley is a real talent to carry such an emotionally heavy role. Her portrayal of Minnie is authentic and memorable and she really gets into the skin of this heavily conflicted character. Compared to her performance, everyone else seems like they are just playing support roles. Alexander Skårsgard does such an amazing job playing the broken character of Monroe, torn between his love of Minnie and Charlotte. I felt like Kristen Wiig could have been better in this movie, as she definitely has the capacity to play serious roles quite well. I was disappointed that Christopher Meloni didn't have as much screentime as he should, because his performance of psychoanalist Pascal was amazingly intense and he shares a hilarious non-verbal scene with Alexander Skårsgard that had me in stitches. Both Abby Wait and Madeline Waters do fantastic jobs in their first feature roles.

While The Diary of a Teenage Girl may be confronting for a number of reasons, its rawness is really refreshing in a world of movies that are all about perfect people doing perfect things.

Pan

Apart from the 1953 Disney animation, I have never seen a movie about the actual story of Peter Pan. I've seen a biopic about the writing of the play (Finding Neverland), a sequel where Peter is a grown up Robin Williams (Hook) and now a prequel of how Peter got to Neverland in Pan.

Peter (Levi Miller) lives in an orphanage in WW2 London. He dreams of one day being reunited with his mother, whom left him on the doorstop of the orphanage twelve years earlier. After investigating the head nun, Peter discovers that the young orphans are being sold to pirates who come and take them away on flying ships. Peter gets himself captured and whisked away to Neverland, which is led by the evil pirate Blackbeard (Hugh Jackman), who uses the captured boys to mine for fairy dust. It is in this mine that Peter learns that he is the chosen one of a prophecy to kill Blackbeard and free the fairies that have sealed themselves in their world. After escaping with James Hook (Garrett Hedlund), he meets with native princess Tiger Lily (Rooney Mara) to fulfill his part in the prophecy.

I must admit that I do get a certain level of enjoyment from origin stories like this one, but only when they have enough of a connection to the original source material so that there is a reminder why we went to see it in the first place. And Pan has enough of those to get by. Quiet references to Lost Boys, Tinkerbell, the crocodile and James Hook's weapon of choice being a, well, hook do a good job to make older audiences who have grown up with these characters feel a little warm inside. I also get the feeling as though the film was heavily influenced by 1991's Hook, especially with Hugh Jackman's over the top portrayal of Blackbeard rather closely mirroring that of Dustin Hoffman's Captain Hook, even down to the first time both characters appear on screen.

However, references to past works don't make a fully succinct or satisfying film. This is an incredibly action packed film and there were times when I felt like the movie needed to slow down and take a breather just so that there wasn't a flurry of activity at all times. There were two moments as well which come across as just confusing and anachronistic. They involve all of the miners chanting both "Smells Like Teen Spirit" by Nirvana and "Blitzkrieg Bop" by The Ramones. When you figure out what these songs are, it throws you off completely. This film is also obviously intended to be the first step in a franchise as none of the major character arcs are completed to where they should be. I think if this was made as a stand alone movie it would be a lot better than it is.

Young Aussie Levi Miller leads the cast quite well, especially for a movie of this size. There were parts where I found his accent to be a tiny bit annoying. Garrett Hedlund gives a truly kooky, but enjoyable performance as Hook and this is complemented well by Adeel Akhtar's hilarious performance as his future sidekick Smee. Rooney Mara handles the action sequences well but ultimately I felt as though her character was rather flat. Jackman's insanely upbeat performance is probably the best part of the film although there are moments when he can get rather dark. Supporting roles by Amanda Seyfried and Cara Delvingne round out the cast.

Pan is an enjoyable enough movie with a storyline that is engaging enough that isn't too simple to get bored. Because it is a kids movie I am of course saying that it will be enjoyable for them. If you are over the age of 15, you will most likely be seeing it for the attractive stars of the film (Hedlund and Mara) or just because of Jackman's really bizarre and against type performance.

Trailers Week 64: 27/09/15

The Big Short:
Based on the early naughties' housing bubble and the events that led to the Global Financial Crisis, The Big Short stars Brad Pitt, Christian Bale, Steve Carell and Ryan Gosling:

Truth:
I can see Robert Redford as Dan Rather. Truth details the 60-minutes report on George W. Bush's military service. Also starring the great Cate Blanchett:

Back in Time:
Awww Yasss! Been waiting for this one for a while. If you're a Back to the Future fan then this documentary will be for you. Starring actors talking about a movie:

Meadowland:

Well, I have no idea what this movie is about based on the trailer, and the online synopsis just makes me more confused, but hey it looks interesting. Meadowland stars Olivia Wilde, Elisabeth Moss, Juno Temple and Giovanni Ribisi:

Angry Birds:

This week in merchandising opportunities: the Angry Birds Movie, starring Jason Sudeikis, Peter Dinklage and Bill Hader...but who even cares...

Heist:

This movie doesn't look that original to me but judge it for yourself, the trailer seems to give away pretty much the whole movie anyway. Heist stars Robert De Niro, Dave Bautista and Jeffrey Dean Morgan:

I Smile Back:

I'm not sure how Sarah Silverman will fare in what looks like a pretty heavy drama, but I think it's great when actors try to broaden their horizons. I Smile Back also stars Josh Charles and Thomas Sadoski:

Sicario

Denis Villeneuve has made some great thrillers over the years, most notably Enemy and Prisoners in recent times, and before he gets started on Blade Runner II, he's going down that same road again with the crime-thriller Sicario, starring Emily Blunt, Josh Brolin and Benicio Del Toro.

The widespread influence of the drug trade is seeping over the Mexican border into the United States. FBI Agent Kate Macer (Emily Blunt) is part of a raid that makes a gruesome discovery in a house linked to the Cartel. Shortly afterwards, she's invited to join an inter-agency task-force to track down a drug lord linked to the various incidents. The force is led by Matt (Josh Brolin) and assisted by mysterious operative Alejandro (Benicio Del Toro). Although soon it becomes clear to Kate that the task force is entering murky ethical and legal waters as it strays across the border into Mexico, and she is left with a moral dilemma. 

Sicario opens with a brutal discovery which sets the tone for a dark gritty film. This is a story that can be at times confusing to follow, but which you're happy enough for Villeneuve to take you along with. It pulls no punches when it comes to confronting images of violent areas on the Mexican border (although this is more a result of our desensitized viewing habits) and actually manages to avoid the Hoo-rah 'Merica tone you might expect from the film. Sicario occasionally offers some sort of visual representation of good and evil, but what we really get is a dirty concoction of different shades of gray. Some of the characters arrogantly excuse their actions as a form of justice, but it's just an illusion. It's a film that lathers itself in moral and emotional ambivalence, which makes for some great plot development and suspense but at time it feels like it lacks direction.

This is another in a line of films similar to Zero Dark Thirty which puts a female lead into a war-like situation. The common link between these films is that the women are portrayed as having a hard outer shell which covers an emotionally-vulnerable interior. It's important to note that many other good war-films do the same for their male leads, however in films like Sicario and Zero Dark Thirty, the male counter-parts don't show any signs of fragility. Read into this what you will, the effect on the audience is the same; we see her as somebody who shouldn't be in that situation. It would be nice to see a more balanced approach to character development in these situations, simply because it can appear misogynistic, whether that was the intention or not.

Unsurprisingly with Roger Deakins at the helm, Sicario's imagery is absolutely stunning. The sweeping landscape shots give the impression of a living breathing landscape, despite being set on the dusty border of Mexico. The last act involves thermal cameras and night vision, which are handled surprisingly well, although the sequence itself does play out like a scene  out of Call of Duty. The sound design is also extremely well-developed. Low booming tones frequently vibrate through the soundscape, an audio-motif that builds upon the film's bleak identity. The overall presentation of Sicario is relentless, repulsive and somehow beautiful.

It's interesting how a couple of years ago, before Edge of Tomorrow or even possibly Looper, you couldn't have imagined Emily Blunt in this sort of role, and whilst I still hold some reservations about her character, it's difficult to find any flaws in her performance. Josh Brolin is more difficult to judge. I reviewed him last week in Everest and in both instances his character was "that guy played by Josh Brolin". He's an exceptionally good actor but for me it's difficult to tell many of his roles apart. Del Toro's Alejandro on the other hand, is almost as enigmatic as the film itself. Whilst you can piece together his story by the end, he's still a character clouded in mystery. I'd like to think that this was an artistic decision, but sadly I know it's because Lionsgate already have plans for a sequel.

The ambivalent emotional direction of Sicario leaves you both strangely satisfied, and at the same time unsure about how to feel towards the events, the characters or the movie itself. It's a gritty, gripping, beautifully presented but confusing story that is perhaps not as radical or unique as it could have been.

Trailers Week 63: 20/09/15

Creed
The show must go on, despite the fact that Rocky is dying, you know.

Point Break

Watching this trailer makes me wonder why bank robbers need to find physical enlightenment and why can't they just be bank robbers.

Colonia

A young woman attempts to find her husband in Pinochet's Chile by joining a cult. Starring Emma Watson, Daniel Brühl and Michael Nyqvist.

The Program

Ben Foster looks like he is taking his creepiness to the next level with his role as Lance Armstrong.

In The Heart Of The Sea

It's like Jaws, but with a much bigger and angrier whale against guys who's boats weren't built to be crushed from above.

The Young Messiah

A movie about the younger years of Jesus where he is followed incessantly by a Roman legion who have orders to kill him. Starring Sean Bean.

The Jungle Book

Why does this Disney movie need to be remade as a live action film. It's not even that memorable. Starring Scarlett Johansson, Idris Elba, Bill Murray, Ben Kingsley and Christopher Walken.

The Divergent Series: Allegiant

I don't why we can't just call this movie Allegiant. People who want to go see it are smart enough to draw the connection.

Everest

I love a good disaster movie, and I absolutely loath a bad one so Baltasar Kormákur's Everest had a lot riding on it for me. Based on the events surrounding the 1996 Mount Everest disaster, the film's stellar cast, chilling story and international production promises a unique and visceral experience. As with all biographical films, if you don't know the story, don't read up on it before going in. Needless to say though, people are gonna die.

Rob Hall (Jason Clarke) is a professional mountaineer whose business, Adventure Consultants aims to get people to the summit of Mount Everest, the tallest mountain in the world, and back down again as safely as possible. It's the start of the 1996 season and Hall is leading an expedition of eight clients, including Texan doctor Beck Weathers (Josh Brolin), journalist Jon Krakauer (Michael Kelly) who's documenting the trip, and Doug Hansen (John Hawkes) a mailman who is on his second attempt to climb the mountain. Hall says goodbye to his pregnant wife Jan (Keira Knightley) and the expedition gets underway.

At base camp they meet up with Helen Wilton (Emily Watson) who is managing the Adventure Consultants' tent, and Caroline Mackenzie (Alicia Vikander), the expeditions doctor. Scott Fischer (Jake Gyllenhaal) is running another expedition and is technically a business rival of Hall's. However, since they both aim to summit on May 10, the two decide to team up the expeditions and work together to reach the summit. However, a string of delays and encroaching bad weather ensure that the expedition ends in disaster.

Everest's rocky beginning hints at a relationship-focused but cliche-driven plot. Conversely, its subtle ending is the perfect close to a relentless, spine-chilling, brilliant film. Full disclosure: I saw this one in 3D, which I'm normally not a big proponent for. Its often either too distracting or not effective. However, here it captures the immense scale of the deadly mountain, the depth of the black crevasses, the ant-sized humans tackling an impossible task. The mountain is the star of this movie, it "has the final word", it's the ultimate antagonist. Full credit to DoP Salvatore Totino (Frost/Nixon) and the effects teams on this film for capturing the sheer beauty of such a deadly place. Each sequence is gripping and utterly realistic. At no point could I not suspend my disbelief. The true success of this film is its focus on spectacle, its ability to create an atmosphere and put the audience right in the action. 

Everest divides its time between the seemingly successful training/ascent and the tragic descent. All the while developing its ensemble of characters as we watch on hopelessly. The minutiae of the ascent, little things that ultimately see the characters set up to fail, are presented in an almost documentary-like style. No blame is laid, no message pressed about the fragility of human ambition. Kormákur simply presents the events as they unfolded and we're taken along for one hell of a ride. It's amazing how littered with A-list actors this film is, many of whom get very little screen time. Strong character development is sadly limited to a couple of the key roles, and at times - especially when they're into the 'death zone' and totally rugged up - it's difficult to work out who's who and what their individual slice of the story arc is. 

Jake Gyllenhaal gives a small but lively performance, and Brolin is well-rounded as Beck. Hawkes's Doug Hansen is one of the more interesting and fleshed-out characters, an amateur climber with a quiet persona and a lot of heart. The absolute standout though has to be Jason Clarke in the lead. Clarke has always had a lot of misses for me, especially in his Hollywood roles, but returning to his native tongue (well, New Zealand is close enough to Australia) has certainly paid off, because this is his best performance to date. He portrays Hall as a gentle, kind-hearted man who puts the safety and concern of his clients above all else. He's so good that all you really want towards the end is for him to survive. 

The women however, are left with generally unfulfilling roles. Emily Watson is fantastic as usual, and you really feel for her as she tries to manage the disaster from the base camp, however most of her screen-time she's left trying to communicate to people through a radio. Alicia Vikander does what she can as the expedition's doctor but she too is unable to do much from the base camp. Robin Wright has an unbelievably small role as Beck's wife, similar to Keira Knightley, who can't pull off the greatest of New Zealand accents but is responsible for one half of the film's most heartbreaking conversation toward the end, so she should still get some credit. 

Whilst there are some great portrayals from a stellar cast in Everest, and I think a lot of reviewers are downplaying the character development, this is still a film that's driven by spectacle. Its slightly emotionally-detracted style avoids cliche whilst still doing justice to a thrilling story that captures the essence of the human condition and transports you to the frosty Himalayas. Everest leaves you with both the desire to endeavor to climb it and at the same time, the tragic gut-necessity to stay as far away as possible.

Life

For a movie with such a title, this movie is certainly lacking life. Which is really disappointing considering Anton Corbijn made one of the most vibrant and thrilling movies of last year in A Most Wanted Man. Here he attempts to make a film about one of the most promising young film stars of all time, but somehow it just seems flat and one dimensional.

Dennis Stock (Robert Pattinson) is a young photographer who yearns for more than the work he is doing, which is mainly set photography and photos of actors for studios. At a casting party for the movie Rebel Without a Cause, he meets James Dean (Dane DeHaan), with whom he is immediately intrigued. Dennis wants to photograph James, but is met with resistance from both Dean and his agent John Morris (Joel Edgerton). He finally convinces both and goes to New York to take the photos, but struggles to find purpose in them. Meanwhile, James is struggling to keep studio head Jack Warner (Ben Kingsley) happy.

This film feels like it is struggling to show what it is about. To me it seems like they have taken Stock's iconic photos of Dean and slapped a haphazard story around what might have happened during the time they spent together. Through this speculation it's hard to see what actually occurred in the time that Stock and Dean had together, a fact compounded by the fact that Stock died five years ago and Dean over fifty.

Another thing that annoyed me throughout the film was its look. It was all very plastic and shiny. I know that this is the vision of 50s Hollywood we have, all bright colours and chrome, but it even extends to New York and Indiana in the winter. If Corbijn had have gone with a bit more of a grittier look to some of the sets (and you can tell that they are sets), then maybe it could've come across as more convincing.

Even less convincing in this film is the acting, with a few exceptions. While Robert Pattinson may have carried the desperation that the young Stock had with finding work, I found his accent to be incredibly unbearable and he had little chemistry with his co-stars. Dane DeHaan does a fine impersonation of James Dean, what with the mumbles and worried looks, but I feel as though he failed to capture the essence of Dean that comes across in the few movies he did. Joel Edgerton is somewhat likeable as John Morris despite not having a big part and Ben Kingsley doesn't really commit to his role as Jack Warner, but that's something I have come to expect from him. I really wanted to see more of Alessandra Mastronardi as I felt there was a good dynamic between her and DeHaan and it would have been interesting to explore that relationship.

Going back and looking at the actual photos that were the basis of this film gave me more insight into who James Dean was than watching this film. It also made me realise what a good choice it was casting James Franco as Dean over a decade ago.

Trailers Week 62: 13/09/15

Our Brand Is Crisis

I hope this movie really explores the ethics of getting behind someone you know is truly bad. Follows the true story of an American campaign manager who was hired to get a Bolivian president re-elected. Starring Sandra Bullock, Scoot McNairy and Billy Bob Thornton.

Demolition

I like the fact that I've seen Jake Gyllenhaal mature as an actor. Maybe it's because he's the first one I've really paid attention too. In this film, he plays a man who gets his life back on track after the death of his wife. Also starring Naomi Watts and Chris Cooper.

Krampus

For those who are unaware, Krampus is a figure from German folklore who comes to punish those who have been bad all year instead of St Nick. The tale has been gaining traction of late, so it is only natural that we'd get a Hollywood Christmas movie about it. Starring Adam Scott, Toni Collette and Dave Koechner.

Carol

Director Todd Haynes has an obsession with the past and none of the movies he makes ever have contemporary settings. His latest, Carol, is set in 1950s New York and tells the story of an affair between a young shop clerk and an older woman. Starring Rooney Mara, Cate Blanchett and Kyle Chandler.

The Hallow

I don't know why people haven't learnt to stop buying those old decrepit houses on the edge of town next to the big forest. Nothing good ever happens. Starring Joseph Mawle, Bojana Novakovic and Michael Smiley.

I Smile Back

Although Sarah Silverman is one of the funniest comediennes around, she's decided to make a serious movie. Also starring Josh Charles and Thomas Sadoski.

Straight Outta Compton

"Our art is a reflection of our reality. You open your front door and what do you see?"

A typical middle-class LA/Southern Californian high school day ends and the African-American students board the buses. One, O'Shea "Ice Cube" Jackson (O'Shea Jackson Jr.) takes a break from writing lyrics to wistfully gaze out the window at the Anglo-American teens hopping in their sports cars together and driving themselves home. Cube's bus leaves the school, leaves the suburbs and soon crosses from tree-lined roads into a graffiti-ridden industrial area towards the Housing Commission-style neighbourhood of Compton. Along the way a pair of teens throw light joking jabs and gang signs at a passing car full of young men, men who suddenly force the bus to stop, board it and threaten the teens with guns while giving a "motivational speech" that's actually a very thinly veiled threat. Ice Cube recounts this incident shortly after at his friends house where his mate  Andre "Dr, Dre" Young (Corey Hawkins) has just moved in to with his young wife and infant daughter further crowding a small house, and they spend the afternoon laughing and creating music. Ice Cube leaves and is immediately confronted road-side by an LAPD patrol already in the process of arresting another African-American man. Cube is accosted and manhandled by the police and when his parents try to intervene, they too are held back with aggressive dialogue and threats of force from the police. This is the reality of Compton, LA, of the film Straight Outta Compton, the reality that birthed N.W.A ("Niggaz Wit Attitudes), a gangster-rap group from the crime-ridden neighbourhood, a group that was perceived to bring gang violence and culture to America's youth and profit from it.

F. Gary Gray's film has undoubtedly been released in a near-perfect moment in terms of marketing and cultural impact, with the horrific interactions between African-Americans and the Police in the US only getting worse, and the film's trailers have invested heavily in it. And, perhaps intentionally, that's not what the Straight Outta Compton film is about. The film follows the rise and demise of the band, from local zeroes, to heroes, to business and entertainment moguls. The film primarily follows the course of Dr Dre, Ice Cube and Eric "Eazy-E" Wright (Jason Mitchell), arguably the greater contributors to NWA, though MC Ren and DJ Yella are also represented but often relegated to being in the background. The film evolves from following these seemingly non-gang affiliated men be brutally honest about the experiences of their life to the territorial nature of the gangland following them into the recording studios and business as a whole. The trailers infer the band's voice having particular impact during the L.A Riots in the wake of the Rodney King bashing, and while this does seem to resonate with the characters within the film, it has little to do with the overall plot. 

                             "When Tyree died you said we'd always be brothers!"

Straight Outta Compton falters where most biopics of prolific and controversial persons/groups do, especially when the members are invested in the production and marketing of the film. It's dragged down by overly-sympathetic characters, direct and manipulative dialogue and portrayals, and a deluge of cameo's and events that come across more as a highlight reel rather than cinematic narrative. Dr Dre is portrayed as the classic hungry, misunderstood, suffering artist who's quest for artistic purity is being constantly undermined by inconveniences such as his wife and children and his family's poverty. Conflicts and personality flaws that would usually create a more three-dimensional character are omitted to satisfy this image of Dre, which in some ways has been addressed during the promo tour for the film. Ice Cube is treated as the talent and genius that the band cannot exist without, with a full scene devoted to NWA and their manager being left speechless after hearing his insult track "No Vaseline" and repeated lines of dialogue referencing how MC Ren is unable to fill Ice Cube's role with the same power or ability after he split from the group in 1989. Eazy-E as the heart and soul of the group who is constantly being manipulated by others and is portrayed tragically from the start, often his pride and gangster attitude (the source of his success) being instrumental in his conflicts with others, however this is seemingly the most honest portrayal in the film. 

Besides the recording of the eponymous album, many events of the film appear to do little more than pad out soundtracks and cameo's, such as appearances by Snoop Dogg (Keith Stanfield) who just wonders up to Dre at one stage and they instantly create "Nuthin' But a G Thang", or walking into a Death Row Records studio to hear Tupac Shakur in the middle of recording "California Love". The second ninety minutes of the film truly falls into typical biopic territory with a never-ending parade of references and cameos punctuated by hit songs that surrounded the members of N.W.A. The film employs forced and cliched movie dialogue and a manipulative film score (outside of the soundtrack that drives the film) that undercuts emotionally significant moments in the lives of otherwise aggressively real and brutal hip-hop/rap artists perhaps reinforcing the fales-ness of cinematic biopics and their capacity to omit information and create significant bias, or maybe it's just bad writing. And finally, the portrayal of women in the eyes of N.W.A has long been criticised but this film could have its own Every Single Word Spoken By...video for its female characters, who when they do appear are usually some kind of decoration. In a major film made in 2015, it's undeniable, blatant and frankly disgusting, regardless of whatever truth there is behind it and there's never any explanation or reason for it besides excess and greed.

In spite of all these issues, Straight Outta Compton is an experience worth investing in even with a two hour and thirty minute runtime. The performances are excellent, and the idea behind O'Shea Jackson Jr. playing his dad is amazing and works. Gray often uses handheld and steadicam shots that flow throughout small rooms full of people to great effect, and the constant militaristic threat of the police is both terrifying and brilliant, invoking the fear of a villain in a slasher film. The concert scenes are infectious and the first hour especially has a wonderful social power to it. It establishes these characters well, their visions clearly and the problems they face, and through it all there's a great soundtrack that keeps things in moving forward, often helping to mask the edits that cut an hour off the film's original runtime. Overall, Compton has the same problems as any other biopic, but has landed at a perfect moment, and with it's strong performances, excellent soundtrack and cultural relevance, it's worth the time investment.

Me and Earl and The Dying Girl

Recently movies that deal with the theme of characters dying from cancer have seemed extremely shallow and superfluous (I'm looking at you Fault in Our Stars). To me they never capture the raw emotions that people experience when someone close to them develops a terminal illness, instead just using superficial manipulation to elicit an emotional response from the audience. However, Alfonso Gomez-Rejon's sophomore feature goes deeper than this whilst touching on a number of other issues.

Greg (Thomas Mann) tries extremely hard not to stick out in high school by becoming as invisible as he can to the other students. He and his friend Earl (RJ Cyler) both are passionate about classic cinema and since they were younger have made low-fi remakes of these films (A Sockwork Orange is a personal favourite of mine). One day Greg learns from his parents that a childhood friend of his has been diagnosed with leukaemia. His mother forces him to spend time with Rachel (Olivia Cooke), the titular dying girl, but as time progresses she eventually becomes Greg's, and by extension Earl's, friend.

It is an absolute joy to watch this film. It is raw and honest in its portrayal of people's reactions to knowing someone who has been diagnosed with cancer, which is a more important story to tell because unless you yourself have been dealt such a blow, you will never know what it is like. But chances are you know at least one person who has. And through this you are genuinely moved by how the characters deal with each revelation.

Whilst the film is about dealing with cancer, it also touches on a number of other issues. Me and Earl and The Dying Girl is also a movie about high school and the teen angst that is the undercurrent through those years. Greg makes a concerted effort to label each and every group he comes across, but the people he does this too eventually buck this trend (a big example of this is the character of Madison, who is typified as an attractive girl who stomps on the hearts of less popular guys).

The movie also touches very subtly on racial inequality. Earl is seen to live in a poorer part of Pittsburgh (where the film is set). The film has no qualms about showing that this is due to the fact that is a lower socio-economic area. Rejon also examines the idea of platonic love. It is obvious that Greg is in love with Rachel, but he never acts on it in a romantic way (except for maybe the ending).

Rejon also makes the film a love letter to classic cinema, as it's chock fill with references to Werner Herzog, Stanley Kubrick, Akira Kurosawa and other classic directors. The soundtrack is a perfect mix of the same old independent movie music and older classic movie soundtrack moments.

The cast of this film is perfect. Thomas Mann is fantastically dry but also a great physical comedian. RJ Cyler stands out as a phenomenal young actor who can play both serious and funny. Olivia Cooke's performance is just heart wrenching as Rachel and really shows her character's inner turmoil. Molly Shannon is macabrely funny as Rachel's mother who turns to alcohol in response to her child's bleak future. Both Connie Britton and Nick Offerman are fantastic as Greg's parents and Offerman's performance reminded me immensely of a friend of mine and thus I felt more comfortable with his character. Jon Bernthal rounds out the cast as the tattooed history teacher McCarthy.

Never before have I been on such an emotional roller coaster ride while watching a movie than with Me and Earl and The Dying Girl. It is a perfect movie for anyone of any age.

Danny Boyle to make 'Trainspotting 2'

Danny Boyle has been very busy recently. His Steve Jobs biopic has been getting some early praise from critics - and perhaps more importantly, Steve Wozniak - and today, just before the first public screening, he's announced that he plans for his next project to be Trainspotting 2, the follow-up to his classic 1996 film.

The sequel will be based on Trainspotting author Irvine Welsh's novel Porno which is itself a sequel to the original, which followed a group of Scottish heroin addicts in their passage through life. The film featured arguably one of Ewan McGregor's finest performances and also starred Ewen Bremner, Kevin McKidd and Robert Carlyle as the infamous Begbie.

Trainspotting screenwriter John Hodge has already provided Boyle with a script which he describes as "terrific", set ten years after the events of the first film, 2 will follow the four leads as they venture into the pornographic world. It's reported that McGregor, Bremner, Jonny Lee Miller and Carlyle have all signed up to appear in the sequel.  

P.S: Perhaps most interestingly for me (Ed) is whether 'Underworld' will once again feature heavily in the film. I am personally a huge fan of the electronic band (mainly thanks to 'Trainspotting') and they certainly set the tone for some of its greatest scenes including this ending scene *spoilers*:

A Walk in the Woods

"Intimidate the bears? They're f*cking bears!"

Following on the heels of the astoundingly good All is Lost from a couple years back, the latest 'Robert Redford in nature' film A Walk in the Woods - directed by Ken Kwapis - acts as a biopic for travel author Bill Bryson. In essence, it's a roadtrip movie, just without the road...or the car.

Bill Bryson (Robert Redford) is a travel author whose recently moved back to the States. After a television host asks him why he hasn't written about his home country America, Bryson decides to hike the Appalachian trail, a 2,200 mile stretch of wilderness that not many people manage to complete. His wife Catherine (Emma Thompson) thinks it's a terrible idea and insists that he doesn't go alone. After calling just about everybody he can think of, he gets a call from an old yet distant friend, Stephen Katz (Nick Nolte) who wants to hike the trail with him. After Stephen arrives, it's clear that he's in no shape to hike the trail, but they go anyway. Bryson is determined to finish the trail, even if that means dragging Stephen along behind him.  

To be honest, comparing this to All is Lost is unnecessary and unfair. Where the aforementioned ponders subtle philosophical questions about existence as its timid character struggles to survive, A Walk in the Woods presents a lighthearted story about rekindling friendship and enjoying the scenery. 'Robert Redford in nature' is as far as the comparison stretches. If you approach this in the right mindset, Kwapis has created a sometimes cheesy but regularly funny film that sheds light on the mind of a travel writer and offers a solid plot arc for the relationship between Bryson and Katz, a basic story that's been told countless times before, especially in the road-trip format, but still works well. Unfortunately, A Walk in the Woods often feels rushed and lacks nuance. I rarely argue for adding to a running time but at 105 mins, there's not much room for the characters to indulge in the experience of walking the Appalachian trail and as such, much of the film becomes a montage of bite-sized moments.

The story is driven by the relationship between Bryson and Katz, which is fairly well portrayed by the two leads. Redford is not at his strongest here but still brings life to what is essentially the straight-man in the comedy duo. Nolte portrays Katz as an enthusiastic but easily whiny out-of-shape alcoholic with the trademark raspy voice, and does so convincingly. Whilst character development is limited, that's more to do with material than the performances.

Kristen Schaal succeeds at creating another funny yet annoying character with the clingy hiker Mary Ellen, and Emma Thompson's small role is still decently well rounded. Overall though A Walk in the Woods has a very small cast, which is dominated by Redford and Nolte. However I did find the interactions between Bryson and motel owner Jeannie awkwardly timed. Mary Steenburgen is an undoubtedly talented actress and I think the scene was designed to be awkward in this way but it still felt surprisingly jarring. Not much to complain about though. John Bailey adds to his fine filmography with some stunning cinematography. The sweeping landscape shots are beautifully composed, and the natural environment encapsulated well. I think Bailey could have stretched his creativity more and mixed it up a bit but it's still a joy to watch.

A Walk in the Woods is at times rushed and is not going to take you on a roller-coaster ride of emotions, however those looking for a lighthearted, funny film that takes you into nature need look no further.

Trailers Week 61: 06/09/15

The Lobster

Colin Farrell stars in a new quirky offbeat comedy where he stays at a resort designed for him to find a romantic partner. If he fails, he will be turned into an animal. His choice is a lobster. Also starring Rachel Weisz, Olivia Colman, John C. Reilly, Léa Seydoux and Ben Whishaw.

The Beauty Inside
This Korean romantic comedy is about a guy who wakes up every day with a completely different appearance to the one he had the day before. Starring Ji-han Do and Hyo-ju Han.

Macbeth
It's interesting how films are marketed differently around the world. This US trailer plays up the action of the Shakespeare play.

The 5th Wave
So it's apocalypse meets alien invasion? Starring Chloe Moretz, Ron Livingston and Liev Schreiber.

The Danish Girl
A biopic about Lili Elbe, the first transgendered person to get a sex change. My concern is that Eddie Redmayne has to up the ante each time in playing a more physical role. Also starring Alicia Vikander, Amber Heard, Ben Whishaw and Matthias Schoenarts.

Concussion
Will Smith plays a doctor who discovers the direct cause between brain injuries and football, but the NFL try to cover it up. Also starring Adewale Akinnuoye-Agbaje, Albert Brooks, Alec Baldwin and Luke Wilson.