Inherent Vice

Reading Thomas Pynchon's 2009 novel before seeing this film really gave me a better understanding of the forces that are in play in the story. That doesn't mean that Paul Thomas Anderson's latest undertaking is at all confusing, rather it is a much more streamlined comprehensible adaptation of the novel that cuts through a lot of confusing tangents that are cut straight from a drugged up hippie's head.

Doc Sportello (Joaquin Phoenix) is a private investigator operating out of Gordita Beach in LA. One night, his ex-girlfriend Shasta (Katherine Waterston) appears out of nowhere to tell him of a plot to kidnap her current boyfriend, millionaire real estate developer Mickey Wolfmann (Eric Roberts). Doc is soon drawn into a complex web of conspiracies that involve a supposedly dead saxophone player Coy Harlingen (Owen Wilson), a rough police lieutenant Bigfoot Bjornsen (Josh Brolin) and the mysterious Golden Fang.

Paul Thomas Anderson is really a master with his camera work and all his usuals come into play. He is not one to shy away from long shots, but the one in this one is different. Normally his long takes rely on big choreographed movements as the camera flows from room to room and follows various characters. In Inherent Vice, he instead has a quite static long take that includes an eight minute monologue from Katherine Waterston that ends a little abruptly. There is one scene that stood out for me in particular that was a dialogue between Doc and a client that is done entirely in low angle close-ups with no establishing shot.

This film is littered with some great comedic moments, whether this be Doc's propensity to throw himself around like a rag doll or the fact that Denis (pronounced Dee-nis) can't drive. Being set in the early 70s, there are a lot of jokes about hippie culture and paranoia. Martin Short's dentist character Dr Rudy Blatnoyd is great fun for this, as he openly condemns hippies whilst partaking in illicit substances at the same time and getting everybody paranoid in the process.

Joaquin Phoenix is super fun as Doc. He seems to be channeling the character from the book with a dash of The Dude thrown for good measure. His love for Shasta knows no bounds, despite it being a very destructive relationship. Johanna Newsom plays his spirit guide Sortilège, although it's not quite clear if she exists in the physical world. Josh Brolin gives incredible depth to Bigfoot, a scary pancake loving giant. Owen Wilson acts as the whole lynchpin to the story and has an immense presence, despite appearing in a handful of scenes. Katherine Waterston is just amazing as Shasta and you will grow to love her as Doc does. I think everyone will agree that the movie does need more Benecio Del Toro, playing Doc's attorney Sauncho Smilax, Esq., and a crazy Eric Roberts whose couple of mumbled lines are just hilarious.

This hippy comedy/mystery is masterfully shot and acted. Anderson has been faithful to the source material and made what I like to call a pure adaptation; capturing the essence of the source without using everything that is there. Some great acting all round, particularly from Phoenix and Brolin. Beware the Golden Fang.

Wild

Last year I reviewed the Aussie film Tracks, a film about a girl with a rough background walking across the desert. This week I watched Wild, a film about a girl with a rough background walking the Pacific Crest Trail, a hike that goes from Mexico to Canada. Like with Tracks, Jean-Marc Vallée's latest film didn't really inspire me the way these films are supposed to.

Cheryl Strayed (Reese Witherspoon) is a wreck after the death of her mother Bobbi (Laura Dern) and divorces her husband Paul (Thomas Sadoski) after he finds that she's cheated on him. To get her life back on track, Cheryl decides to walk the Pacific Crest Trail. Along the way she meets a fair few people who she relates to, as well as some unsavoury characters who just want to use her.

While I appreciate the film's overall message (despite it not doing anything to me), I feel like Vallée's filmmaking is all over the place here. The structure and editing don't do much help make sense of the story. Non-linear films can be fun to watch and sometimes they can give backstory to characters, as is the intention with this film. However, the flashbacks that we do see are very fragmented and brief, giving only a cursory insight to Cheryl's motivations and thus not making her a very endearing character.

The film suffers from an overabundance of narration. Scenes where we should read into Witherspoon's performance are interrupted by obvious narration of what's going on in her mind. The film's epilogue is also rushed along with a solid minute monologue at the end of the film, felt like something a teenager would write at the end of a story to let the reader know that everything would be okay. This could have been cut out entirely and given time for the audience to breathe and come to their own conclusions on whether Cheryl achieved her redemption.

Thematically the film is very much on the nose, holding hands with the audience the entire time. Such is the nature of a poorly done CGI fox who represents the soul of her mother and you know this from the moment you see it. Also, whilst I am not one of those hideous men's rights people and I fully support feminist films (and this is a great example of one, up there perhaps with Jackie Brown), every man, bar her brother and ex-husband, comes across like they wish to take advantage of Cheryl and I truly was scared for her at times. I don't feel like this needed to happen every time to remind the audience that there is that fear that Cheryl carries with her.

With this being a film with a lone main character, I had expected to see Witherspoon for the entire film. She gives a superb performance, something I haven't seen her do since Pleasantville. The fact that there are too little supporting roles, or if there are, they aren't in it for long, that irked me a little. Laura Dern comes back time and time again in the flashbacks, but I didn't feel a strong connection to her. Thomas Sadoski and Gaby Hoffman, who plays Cheryl's friend, both get a pitiful amount of screen time and I would have loved to see a lot more of W. Earl Brown.

Jean-Marc Vallée is capable of making better movies as we saw with Dallas Buyers Club and I know that all the actors can do better than this and despite this movie having some Oscar nominations based on it's strong female characters, it isn't a too exciting movie.

Devil's Knot

 Atom Egoyan's film Devil's Knot dramatises the real life events that surround the trial of the West Memphis Three, who were charged with the 1993 murder of three boys. The topic has been subject to many previous documentaries and indepth analysis, so where does this film fit in?

On May 5th 1993, Stevie Branch, Christopher Byers, and Michael Moore, three young boys from West Memphis, Arkansas, were riding their bicycles in Robin Hood Hills when they were murdered. After the police discovered their bodies, the suggestion was that members of a local satanic cult had murdered the children. Jessie Misskelley, Jr, Jason Baldwin and Damien Echols were treated as the prime suspects, and the film follows their trial.

Many have criticised this film for it's depiction of a story that has already been well documented, especially with the Paradise Lost documentary trilogy, and hence is of little interest to those who are already aware of the events. I, on the other hand, went into this with very little knowledge of the story and generally found it quite intriguing. I understand that it could be boring for viewers well versed in what happened but I personally never lost interest the whole way through.

Firth may well have been an unusual choice to play Ron Lax, but once you get past the fact that it's Colin Firth on the screen putting on what I found to be a fairly convincing southern accent, he really does give another of his great performances here. Reese Witherspoon, on the other hand, wasn't really anything special in this I found. Not terrible, just not great.

Some of the images are violent and quite confronting at times, but they do well to present the events and bring the 'thriller' genre in the film out. Crucial information surrounding the case is presented through informative subtitles that never draw our attention away from the action, although the final summarising of the events from the end of the trial up to the present could come across as lazy film making to some.

If you have previously learnt about the Memphis Three through other means, then this is probably not the film for you, but for audiences who are looking to understand these tragic events without watching three documentary movies, then this is quite a strong film that delivers the narrative effectively, thanks by and large to Firth's performance.

Classic Movie Review: American Psycho (2000)

American Psycho is the kind of movie you have to watch at least twice. Preferably more. The first time you'll watch it and see a movie about a guy who just likes to murder people and is just what the title says. But after a few viewings you start to notice things that you missed out on before. So after probably my fifteenth viewing, I think (rather hopefully) I finally understand the film.

It follows Patrick Bateman (Christian Bale), a young attractive finance executive in New York, who tells us that he is an insane psychopath who loves to murder people. And that's anyone and everyone. Through the course of the film he kills homeless people, dogs, models, colleagues, prostitutes, police officers and friends.

From the first viewing I always knew that this film was an obvious satire of late 80's yuppie culture. It's pretty hard to miss it. Bateman and his friends are obsessed with the best clothes, girls and food. Through Bateman's narration we are told of his morning routine with precise detail, including the specific types of lotions he uses and the properties that they have. There is a great scene where the guys compare each others business cards, with Bateman's tense narration playing over the top. This particular scene highlights the need Bateman has to one-up everyone, even in the most minute details.

But at it's core the film is also about conformity and Bateman's extreme need and desire to fit into the popular culture. He loves listening to Huey Lewis & The News and at many times gives lengthy speeches about particular singers before offing his victims, you can watch the most famous of them here. One facet of conformity that he cannot attain however, is a table at the elusive restaurant Dorsia, much to the dismay of the people around him.

Now, despite being best known for playing Batman, Bale's best work ever is as the two-faced Bateman (only one letter really divides the two roles). In the above scene, the blood splatter on his face only accentuates the two-facedness of his character.

There are also great supporting roles from Jared Leto, Justin Theroux, Reese Witherspoon and Willem Defoe. But due to Bateman's role as an unreliable narrator, all these characters fade into the background due to his disinterest in them.

As the film goes on and Bateman kills more and more people his grip on reality becomes more tenuous.  The films ends with with a mind-bender and leaves you thinking what just happened and when you think you got it, you don't.

Verdict: A scathing satire of of yuppie culture of the 1980s that is also about the need to fit in.