Review: “All This Mayhem” (2014)

The Eddie Martin documentary All This Mayhem (2014) tells the story of the Pappas brothers, two men who reached the pinnacle of pro-skateboarding but crashed hard through drug and alcohol abuse. Made up of recorded footage as the boys came up and were discovered through skating videos and competitions, eventually becoming number one and two in the world rankings, along with interviews from the major players involved, including extensive interviews with one of the brothers themselves, the documentary provides a highly enlightening look at a relatively unknown aspect of this particular sport and subculture. This isn’t the ESPN sponsored X-Games style of skateboarding, although this is discussed in the movie, this is raw individuality and the grassroots aspect of the sport. However, by the end its clear the skateboarding is just the vehicle.

The main focus of the film is the brothers, not only their impact on professional skating but the way in which their strong personal characteristics not only allowed them to be phenomenal and innovational athletes, but also may have been the reason they succumbed to addiction. The aspect of their selves which allowed them to throw themselves into their sport, is arguably the same form of fearless abandon which lead to their downfall.

It may be true that skating enthusiasts will be well acquainted with the story of the Pappas brothers, so may not find anything of note in All This Mayhem (2014). However, for those uninitiated or even with just a slight knowledge of that particular world, the documentary offers an engaging, entertaining, and effective insight into an important and interesting culture. Those who may be dismayed at watching a film about skateboarding should take a risk, because at the heart of All This Mayhem (2014) is a truly compelling human story.

★★★★☆

Review: “The Culture High” (2014)

Aiming to do what Blackfish (2013) did for orcas; The Cove (2009) did for dolphins; and An Inconvenient Truth (2006) did for global warming; the Brett Harvey documentary The Culture High (2014) makes the argument for the decriminalization and legalisation of marijuana. And what an argument it is.

First and foremost it should be said that this is in no way a neutral viewpoint on the issue of legalisation of weed, The Culture High (2014) clearly and unquestionably falls on the side of decriminalization. However, that being said, this is not simply a propaganda piece. The sheer amount of research, information, argument and source of expertise on show is staggering. Throughout the approximate two-hour running time we hear from politicians, civil servants, celebrities, social workers, sociologists, scientists and journalists. The set up is also highly effective, with every conceivable argument against the drug being highlighted (social, psychological, physical, criminal etc.) and then thoroughly debunked. The Culture High (2014) does what every rationale debate should, it takes its challengers head on and uses facts, not opinions, to win the argument.

The focus of-course is on marijuana, but because this is such a hot-topic in modern American politics, it allows for an investigation into the way policy is created, and the effects of mass media and corporate donations on the modern political system. Other targets are modern policing and the “War on Drugs”, the pharmaceutical industry, the industrial prison complex and the deplorably disproportionate statistics in regards to race and poverty when it comes to pursuing criminal convictions.

As it all comes together, it becomes clear that this particular issue can be seen as a representation of individual liberty, whether you agree with the drug or not the question becomes: do you believe it is right to police a person’s lifestyle because it differs from yours? The Culture High (2014) is not only a fantastic, highly informed feature-length documentary, it is essential viewing for anyone who believes people should not be criminalised for the way they choose to live their life; which should be everyone.

★★★★★

Review: “Coherence” (2013)

What begins as a believably awkward dinner party quickly turns sinister after a passing comet begins to cause strange events in James Ward Byrkit’s Sci-Fi thriller Coherence (2013).

It’s difficult to talk about the film without giving too much away, as a large part of the entertainment value comes from trying to piece together the puzzle and figure out exactly what is going on, so I’ll try to keep it simple. The basic premise of the movie is that during a dinner party, a comet passes overhead which causes a power outage. The party members notice a house a couple of blocks away which still has power and decides to investigate, which throws out more questions than answers.

The theory in the film is well executed and the internal logic holds up well, and there is even some scientific exposition to try to make it all seem plausible. All the main characters are interesting and distinct enough so that it doesn’t become too confusing, and the handheld style allows for an intimate but unstable feel to proceedings which raises the tension at appropriate points.

Coherence (2013) fits into the mould of the cerebral Sci-Fi (with a capital S) and definitely requires your full attention. With a strong initial premise, good turns from the collected cast and a reluctance to not dumb down for its audience, it emerges as one of the best serious Sci-Fi films in recent years.

★★★★☆

Review: “Layer Cake” (2004)

Before he became the world’s most famous British Spy, Daniel Craig cut his teeth in the Crime/Thriller genre with the slick British film Layer Cake (2004). Adapted from the J. J. Connolly novel of the same name and directed by Matthew Vaughn, the film sees Craig playing on the other side of the law, as an unnamed businessman (XXXX) whose commodity just happens to be drugs.

The film was set to be directed by Guy Ritchie, but thankfully due to scheduling conflicts the job fell to first time director Vaughn. For a debut film his direction is surprisingly assured, stylised and confident, providing a cool and dynamic view of London and its criminal underbelly. The production value is incredibly high and the look of the film rivals any Hollywood crime drama around at the time.

Ditching the cockney gangster trope which has plagued British crime films for decades, Vaughn takes a more subversive look at the modern drug trade, even likening it to American prohibition, and takes ample opportunity to ridicule the crass, abrasive “gangster” stereotype which has become far too familiar in British cinema. All performances are great, and there are some notable small roles (look out for a young Tom Hardy), but this is definitely Craig’s film, as his smart, controlled presence holds the surprisingly complex plot together, and its easy to see why it was this role in particular that got him considered as the new Bond.

Layer Cake (2004) is a prime example of the way in which British produced crime films are able to hold-up against their American counter-parts. Strong performances, assured and stylised direction, and a gripping and entertaining plot lift the film above its regional predecessors, and although it unfortunately didn’t lift the quality of the genre permanently, it still holds as one of the best crime films of the period. Welcome to the layer cake.

★★★★☆

Review: “Girlhood (2003)

Early on in the film, during a group discussion, one of the main characters of Girlhood (2003), the feature-length documentary from Liz Garbus, voices her frustration at being seen solely on the basis of her crime, rather than for who she really is. Focusing on three years in the life of two young women as they spend time in and out of America’s juvenile justice system, the fly on the wall documentary follows Megan and Shanae, two young girls caught in the system due to involvement in violent crime. However, although some insight is given to the institutions as a whole, the focus is very much on the individuals.

Throughout the film we get to know these young girls, and begin to understand what may have set them on the path which led them to their current situation. Unstable home-life, drug abuse, alcohol, poverty and sexual abuse are all factors which come to light through frank and revealing interviews with the two girls, which although very personal, paints a vivid picture of a serious overall issue facing modern America.

Girlhood (2003) shines a revealing light on a serious issue in America, the cycle of poverty, drugs and violence which causes young children to be sucked into the juvenile justice system. However, what this documentary really is is a way of looking past that, of seeing these subjects not as representatives of the crimes they have committed, but the children they really are, and the disastrous effects of a life spent within the system.

★★★☆☆

Review: “Chef” (2014)

There is an episode of The Sopranos (1999-2007) where Jon Favrou plays a fictional version of himself. When discussing his scriptwriting with an eager Christopher Moltisanti (Michael Imperioli), Favrou explains his intention is to capture the way people really speak, their true flow of language. He arguably achieved this with his phenomenal Swingers (1996), but over the years has produced very acceptable but somewhat unadventurous Hollywood fare. This has changed with Chef (2014).

This, the story of a talented chef whose creativity has been hampered and so decides to attempt to unleash his potential by starting a food truck, could be seen as both autobiographical and a possible “fuck you” to all those who may have doubted that his star may have faded. Back is the quick-fire dialogue, off-the-cuff humour and astute social observations that made Swingers (1996) such a cult classic.

Favrou is fantastic as Carl Casper, the titular chef who has a meltdown after his menu (which he didn’t even want to cook) is completely slated by the biggest critic around. Relishing with the witty tight script (which he also wrote) Favrou excels as the stunted and frustrated creative genius, wisecracking and passionate in the kitchen while also trying to maintain a working relationship with his son and ex-wife. This essentially is where the main thrust of the story lies, as Casper rediscovers his talent while reconciling with his estranged family.

The supporting cast is also strong, and Robert Downey Jr. all but steals the film as Casper’s ex’s ex, whom provides the vehicular kitchen, while Emjay Anthony provides good chemistry, along with impressive comedic timing, as Casper’s son. However, as strong as the performances are, the star of the show is very much the script.

Jon Favrou proved his blockbuster chops with, among others, the Iron Man series, but this is truly a return to form for the once indie darling. Chef (2014) is a fun, witty, well-written little film which provides some serious food for the soul. Be warned though, the scenes depicting the cooking are actually mouth-watering, so patrons are advised not to view on an empty stomach.

★★★★☆

Review: ‘What Happened, Miss Simone?’ (2015)

Using archival footage and interviews, along with talking heads from contemporaries, friends and family, What Happened, Miss Simone? (2015) provides an enlightening and intimate insight into the “High Priestess of Soul”. Tracing her beginnings as piano player at her mothers spiritual revivals, to her progression as a recording star, we hear Nina’s story in her own voice.

This particular approach provides an apparently truthful and raw representation of a cultural icon, touching on aspects of classical training, beginnings in the jazz world, chart success, family life and frustration which comes with that success. Other insights are Simone’s apparently volatile nature, abusive domestic life, and bouts with severe self-doubt and depression, even while obtaining the pinnacle of success.

The key focus of the documentary falls on Simone’s work as a civil-rights activist, and how she used her music, stage and stature to give voice to a repressed people, voicing the anger, frustration and injustice she had been feeling for so long. This is really where the film comes into its own, moving from a standard biopic to a strong testament to the power of culture, art and music in making a difference and becoming a source for change.

The film is littered with performance footage of Simone, which impressive in its own right, is all the more powerful given the context surrounding the songs. Many years may have passed but unfortunately the themes and concerns of Miss Simone are far from outdated, and What Happened, Miss Simone? (2015) does a fantastic job of showing why “The Priestess of Soul” became such a powerful and unforgettable voice of what was, and still is, an essential movement.

★★★★☆

Review: ’28 Days Later’ (2002)

Arguably the first film which kickstarted the debate of ‘zombie vs infected’, Danny Boyle’s horror/thriller 28 Days Later (2002) also launched digital handheld filmmaking to the mainstream, and although visually dated now, the scenes he was able to achieve through the mobility of digital filmmaking still have the potential to take your breath away.

Although containing no zombies (the threat in the film comes from individuals infected with a virus which causes uncontrollable rage rather than a horde of undead), Boyle’s film owes a great debt to the Romero series. The movie opens with a suspicious animal testing facility being infiltrated by activists, setting up the initial outbreak. We then skip forward to the titular 28 days later, with the focus on a newly awakened Jim (Cillian Murphy) and an impressively abandoned London.

These first few scenes are startling. Using no CG or trickery, Boyle has effectively managed to convey a deserted city. This was achieved solely through the use of digital handheld cameras, which due to their ease of set-up and portability, allowed Director and Crew to achieve what must have seemed impossible on paper. While the rest of the film becomes much more claustrophobic as the narrative moves on, these initial grande scenes leave such an impression that the sense of desolation and societal collapse is felt all through the rest of the movie.

As Jim (Cillian Murphy) comes to terms with his new situation, he meets up with other survivors and they decide to make a pilgrimage to a military stronghold, which has been broadcasting on a loop offering hope and protection to any left alive. The core group consists of Jim, father and daughter pair Frank (Brendan Gleeson) and Hannah (Megan Burns), and hardened survivor Selena (Naomie Harris). At first the thrills come on thick, but once the group has been brought together Boyle is smart enough to allow some time for character development and interaction. This is often the downfall of horror films, where we’re thrown a set of random characters who are quickly disposed of. Usually they are just bodies to be ticked off but in 28 Days Later (2002) we are allowed enough time with them that we begin to care, which makes the later scenes that much more effective. Actually, for a film of this type there are some genuinely affecting moments which may come as a surprise to those expecting a straight-up horror/thriller.

Visually speaking, time hasn’t been kind to 28 Days Later (2002), but the sacrifice made by using digital rather than film has allowed for some truly dynamic and impressing scenes. With a fresh twist on the tried and tested ‘zombie’ genre, Danny Boyle has provided an exciting, memorable and at times emotional horror/thriller which cares as much about character development as it does about making its audience jump.

★★★★☆

Review: ’25th Hour’ (2002)

The events of September 11th, 2001 are a shadow which looms over Spike Lee’s joint 25th Hour (2002). Made a year after the tragic terrorist attacks, the story of Monty Brogan’s (Edward Norton) last night of freedom becomes a study on the effects of trauma, and the notion of dealing with events which fundamentally change who a person is.

Facing seven years prison for drug charges, Monty spends his last hours with his friends and girlfriend as he tries to come to terms with what he’s about to face. His prison term is used as a metaphor for the way in which New York (and America as a whole) is irreversibly altered after a horrendous experience. In a key sequence between his two best friends, schoolteacher Jacob (the late Philip Seymour Hoffman) and Wall Street trader Barry (Frank Slaughtery), the premise of traumatic transformation is set out as the devastation of Ground Zero haunts the background.

Edward Norton is fantastic as the flawed Monty, who is guilty of the crimes he is charged of but still manages to evoke the viewers sympathy. This is important, we need to care about Monty for the film to work and he brings the everyman charm he’s utilised so well in the past to achieve this. Monty’s not a bad person, he’s made mistakes but the punishment he is ultimately facing does not fit the crime.

Spike Lee loves his city and his country, but this isn’t a love letter. After the attacks there was a strong swing to rampant patriotism, which is completely understandable. But this isn’t the message that he’s trying to convey. Spike’s not saying we’ll overcome this because we’re the best, he’s saying we’ll overcome this because its what we have to do. One of the characters near the end of the film gives Monty some advice about entering prison, and ends by simply telling him to survive. Sometimes, in the face of devastation and trauma, thats all that can be done.

25th Hour (2002) would have been a great film if it had been a straightforward story of a man’s last night of freedom. However, in the context of the tragic events of 9/11, it becomes a perfect showcase of the way in which art can, and should, be used as a way of celebrating the resilience and strength of human nature.

★★★★☆

Review: ‘20,000 Leagues Under the Sea’ (1954)

Disney’s 1954 take on the Jules Verne classic, 20,000 Leagues Under the Sea (1954) is part adventure part character study as we climb aboard the Nautilus, captained by the mysterious and possibly mentally unhinged Captain Nemo.

After a failed expedition to find a mythical monster who is plaguing the seas, Prof. Pierre Aronnax (Paul Lukas), his apprentice Conseil (Peter Lorre) and cocky, guitar strumming harpooner Ned Land (Kirk Douglas) end up shipwrecked and come across the Nautilus, a highly advanced submarine captained by the disillusioned Captain Nemo (James Mason). Fed up with the world, Nemo has taken to the sea, become completely self-sufficient, and begun waging a personal war against the slave colony he was once a part of.

The film is what you would expect from a Disney take on the story. The tone is light, the menace minor and the production value high. The visual aesthetic is the film’s key selling point. Made long before the days of CG and Green Screen, everything has a refreshing physicality, and the steam-punk set design can be seen as possibly one of the earliest examples of that particular style.

There is some concern about the section of the film which use live animals, and the cultural representation of the film is somewhat problematic (Nemo captains an all-white crew and the only people of colour in the film are portrayed as savage cannibals). However, compared to some of Disney’s other productions, this is minor (Song of the South (1946) I’m looking at you).

Even by today’s standards, 20,000 Leagues Under the Sea (1954) is an entertaining family adventure film, with some memorable set-pieces and a distinctive look. Considering when it was made, the special effects are impressive, and although it may seem quaint to modern eyes, this is an enjoyable way to spend a couple of hours.

★★★☆☆