It was physicist Michio Kaku that said it is “pointless to have a nice clean desk, because it means you’re not doing anything.” Naturally, there is a difference between a desk cluttered with paper, notes and ideas and a space dominated by empty wrappers, Waterstones paper bags and the remnants of what could have been good ideas for articles long ago. Extreme decluttering or an acceptance of the status quo. There is no happy medium for the burnt-out mind. The brain that has been working overtime, figuring out the next idea while three are already being stoked in the fire. It is fun, but when the temples begin to throb and the face goes a bit numb, it is time to take a step back.
High school sweethearts and the dwindling romance between them that soon fizzles out, like a wet blanket thrown over a fire. Such is life, and that is what Celeste and Jesse Forever features. The death of love and the reminiscence of it. Lovely stuff, nice and light. The usual back-and-forth that Jennifer Anniston and Vince Vaughn popularised in The Break-Up features within this Lee Toland Krieger feature. It is hard to escape the rise and fall and rise again of a couple going through the motions and falling out of love. Quick as a flash, audiences are shown an entire relationship in just a few snapshots. That is all Celeste and Jesse Forever can offer throughout, though. Snapshots of an interesting experience.
Who appears on the cast of an ensemble feature is just as much a reason to view as the plot or those in the directing chair are reasons. It sounds unreasonable, but it is true. Many have suffered through the slog of catching up with the unknown, shadowy parts of their favourite filmographies. There is a reason, naturally, that people have watched Cats and Dogs: The Revenge of Kitty Galore. Whether that is because their father marks it as their favourite film or because it is a feature that J.K. Simmons featured in is beyond the reasoning. Take refuge in the ensemble feature, good or bad. Burn After Reading happens to be good. Just good, mind. Not more than that.
Nostalgia can turn a man desperate to reconnect with happier times, simpler times, when the most taxing part of the world was the build-up to secondary school or returning a book to the library. Harry Potter and the Philosopher’s Stone is that for so many. So much for so many. There is no way of cutting through it without bias because of how close it resonates, how many lost afternoons sitting comfortably with the parents around Christmas were founded on the world J.K. Rowling created and Christopher Columbus adapted, arguably better. Columbus, ironically given his name, pioneers the Harry Potter franchise to a developed strand of features that were set to be the next big fantasy entity.
From its high-pitched wails as the opening credits crawl over some uninspired background shots of mountains, audiences will have no choice but to stare and clutch at their ears as Death Hunt opens. Its score is poor and that should not matter to any action feature until it becomes an unavoidable focus. But what else would there be to focus on in the great Canadian outback, eh? Just like the score gives way to bold and recognisable actors, the direction of Peter Dick eventually secedes away from snowy background shots and into the real meat and bones of this early-1980s action flick. Lee Marvin and Charles Bronson are steady hands to have on board, but from Death Hunt, it would seem their days in the spotlight are numbered.
Tenacity in the face of modern distribution. Disturbing commitment to a project trying to abandon him time and time again. Only Terry Gilliam could have such back in making a movie. A feature that took him nigh on two decades to make. The result? A fine feature. One that will leave little, if any, lasting impression. A noble sacrifice to have Don Quixote adapted and there for future generations to use should they hope to avoid reading. Noble. He Dreams of Giants is a follow-up to Lost in La Mancha, a documentary about how Gilliam failed to make an adaptation of Don Quixote the last time around. What this means is that the ratio of documentaries about Gilliam’s failure to make a film adapting the writings of Miguel de Cervantes outweighs the number of adaptations Gilliam has made of Cervantes’ work.
Springing to mind immediately are the immortal words of Tommy Lee Jones, uttered in disgust to cast member Jim Carrey. “I will not sanction your buffoonery”. If Jones does not have to sanction it, then why must audiences? Comical stuff. But that is Batman Forever, a feature that cannot take itself seriously because director Joel Schumacher dared to touch close to the Adam West influences. Icarus he is not. Flying too close to that line means there is a rift between what Schumacher wants to try out as a comical feature and what newcomer to the Caped Crusader series Val Kilmer wants to do with a performance that, if handled right, could offer much depth.
Truthfully, the adaptions of Agatha Christie’s work should be a gold mine for directors looking to get a foot on the ladder. They should not be a bright ensemble taking control of good prose but an example of how and why simple tropes still appeal to an audience. Kenneth Branagh’s starring role and work behind the camera as director of this latest Death on the Nile adaptation will continue on his trend of fascinatingly acceptable features. He can neither leap to greatness nor sink to degeneracy and in that mediocrity comes a seething resentment for a man doing just fine. A second turn for the man as Hercule Poirot beckons not how to solve this latest case, but why it needs presenting in this manner.
Death of the social life, ruinous financial warfare and a genuine drive to be something are all topics contained in writer Edward Chisholm, who recounts his experiences as a runner, waiter and restaurant hand in A Waiter in Paris. It is the dying, noble profession that so many have tried to document and bring to life through various pieces of media, failing to do so because a blemish is missing or a character is out of place. To take it from the source is the best-case scenario, a scattering of scenes that add detail to a scattershot life in a Parisian restaurant. The ins and outs of the filthy business put in the limelight with an effective gaze on what it really means to be a waiter. What a nightmare.
Throughout his career, Sean Baker’s output has focused on marginalised communities in a compassionate, humanistic, and frequently funny way. In Red Rocket he again takes his audience into the lives of those rarely seen on the big screen, this time in a comic drama that is as quietly moving as it is laugh-out-loud funny.
The film follows washed-up pornstar Mikey Saber (real surname Davies), played by Simon Rex in a revelatory performance, as he returns to Texas City following some difficulties in Los Angeles that have left him beaten and bruised. He arrives unannounced at his estranged wife and mother-in-law’s house expecting to stay over a few days while he gets back on his feet. Following a few attempts at getting a job, he winds up dealing drugs again for an old acquaintance. The rest of the film sees his attempts at building himself back up for a comeback while falling in love with a young girl called Strawberry working at a doughnut shop.