Posts Tagged ‘school’

Submarine

Submarine

Tuesday, April 5th, 2011

[Quick note about the massive break since I posted anything here lol – as usual, sorry… I kept meaning to catch up on my reviews, indeed, I have almost 30 sketched out in Evernote which will appear here eventually, probably when I watch the movies in question a second time. I like to keep my reviews coming concurrent with the order in which I watch them and that always results in these massive gaps when some movie comes along about which I’ve nothing immediate to say and holds up the queue lol. But, then, a month passes, the queue becomes unmanageable, and I decide – as I have today – to just start afresh from the movie/s at hand. Let’s see how long I keep up with myself this time. I will probably update my 2010 list soon with this in mind, despite most of the movies on that list not yet having been reviewed. Anyhoo… onwards…]

The moment I saw a short clip of this movie featuring the main character Oliver – a self-absorbed outsider teen (and aren’t they all) played by Craig Roberts looking uncannily like Bud Cort in Harold and Maude in a setting that looked equally similar in almost every way to that masterpiece and personal favourite – I knew I just had to see it. The first thing to say about Submarine is… it’s absolutely not *Harold and Maude*… Yet though its clear visual references are almost unfortunate because of this otherwise total unsimilarity of the two movies, they remain the aspect I’m most eager to praise.

I’d read plenty before finally dragging myself to the arthouse to see this that had worried me plenty that it might, afterall, not be my cup of tea. That there were no unlikable characters in it. That it was wannabe-(and, in some people’s minds, nottabe-) Wes Anderson (bad enough if you’re a fan of his; worse if, like me, you’ve never really been impressed with that guy). Just a general implication that if this was remotely like its clear influences, it might only be in a far too clever, possibly ironic, insular, showy – let’s just say it, hipster – way.

The accusations aren’t far off. These characters – all of them – aren’t what you’d call likeable. But I found myself mostly flitting between not quite wanting to call them “unlikeable” and, more, feeling like the movie was doing a fine job of portraying them as no more or less than simply as flawed, helpless, and ridiculous in their behaviours as any of us, particularly as teenagers. Richard Ayoade takes a leaf out of Sofia Coppola’s book in this respect – it’s not hard to argue that if the movie feels difficult to get along with at times, it’s only because it’s reflecting entirely the mores of its protagonists. I include, by the way, in those protagonists the adult characters – the teachers at school, Oliver’s parents (played heartbreakingly well by Noah Taylor – an ex-Open University presenter – and Sally Hawkins, whose billowy attire most fully betrays any sense of when the movie is set), and Paddy Considine’s psychic entertainer – all of whom are, if anything, so much “worse” than the kids that they, too, reduce any irritation the kids might cause.

The movie is well-made enough that it’s able to get away with teetering on this line between honestly presenting its undesirable world and simply becoming just as undesirable for almost its whole duration, and the feeling I left the cinema most filled with for Submarine is admiration – the same admiration I found when listening to recent interviews Ayoade has done, particularly on Mark Kermode’s radio show, where he spoke of his early rejection of extreme emotion in a way that was both comic and slightly inspiring. If there’s a problem for me it’s really an unfair thing to have a problem with, given Ayaode’s clear intention to never go there – I personally like a good rush of extreme sweeping emotion in the cinema; and in a movie such as this, so otherwise devoid of such a thing, it would – even if fleetingly – have been all the more effective. But the movie never lets itself tip over into any hint of sentimentality… if it even comes close it quickly checks itself and comments on the fact. Some people will cite this as the reason it’s so good. Like I say, I’m more inclined to simply admire its consistency. What’s clear is that Ayaode is a director whose future work we should look forward to – if he can do so much good with a story as difficult as this, I think with different material he might one day blow me away completely.



Diary of a Wimpy Kid

Diary of a Wimpy Kid

Monday, September 20th, 2010

“Who wants to see a movie about a kid who’s stuck in middle school with a bunch of morons?”

So good does this movie start that before that line above was even uttered (by the narrator/hero Greg, no less), I’d actually forgotten the only reason I did want to see such a movie…

I’m not familiar with the book source but it’s evident from the Peanuts-style music and quirky line drawings the tone and style they’re going for. A breakfast scene where Greg’s little brother sits simultaneously peeing in the potty while munching toast points up even further that this isn’t your average middle school movie (is there even an “average middle school movie”? I don’t know lol). In fact it’s at this early stage that I began to panic that this was actually one of those great movies about kids that gets rated such that kids can’t actually see it. Less than 20 minutes later Greg actually pees all over his older brother, so it’s certainly not shy about exploiting the typical funny buttons of its target audience. I’m assured by the IMDb that it’s “suitable for kids” everywhere it’s being shown, which is a relief.

From here we’re thrust immediately into a “shirts and skins” sports class scenario that could have been ripped directly from my own childhood. It’s at this nightmare class that Greg and his less cool friends encounter Chloe Moretz – that sole reason I originally wanted to see this movie at the start – sitting peacefully reading under the bleachers. In a scene I’d be routing for as Moretz’ Oscar clip if we didn’t already have Kick-Ass and the upcoming Let Me In to work from, she outlines pretty much the whole moral of the movie… which Greg promptly ignores.

“This place is an intellectual wasteland,” she begins, and literally lays out on a platter to Greg the secret to surviving middle school. She’s a girl we could all have used as our guide in school. But like most of us at that age, he won’t be told, and must find out for himself.

Greg’s a flawed character who’s likely to simply annoy viewers who don’t see the reason why such a hero is the best place to view such a story from. His attitude from the outset is summed up by an early line: “Thank god there are few normal people, or this place would be like a freak show.” He literally thinks himself too cool for school, which might be true but isn’t going to help him survive it. He gets jealous of his chubby friend Rowley because while he misdirects his energy and fails, Rowley seems to obtain success after success – first winning rank in the school’s hall monitor program, and then by penning a winning comic strip for the school newspaper (one of the few areas where Greg seems to have real ambition) almost effortlessly.

Cool comes from unexpected places, the movie constantly asserts. Rowley continues to score cool points by doing things that in Greg’s mind are the most uncool things around: doing a choreographed dance at a mother-son dance, for example – while Greg constantly tries to anticipate cool-dom… “if I do this one thing I think is cool, then I’ll be cool…” etc. Even when he finally gets this, and delivers almost the same monologue as Moretz gave him at the start, he kinda thinks he’s going to win over the school. It’s only when they respond like the mindless mass they are that he realises where he belongs. Moretz again shoots off the movie’s message in a nutshell to the school’s resident prissy princess…

“One day middle school will end and become highschool, and after that it just becomes life and all those things you think are important now… won’t be anymore.”

It’s all been done before, of course, most recently I think in Mean Girls … but it’s always worth refreshing, and in this case in particular, it’s interesting that the children are not only younger, but male.

Something occurred to me when I first watched this movie and I found myself thinking about it even more as I watched a second time for this review. We’re at a point where Disney has felt the need to retitle its next Animated Classic “Rapunzel” as Tangled because The Princess and the Frog didn’t appeal to boys. It’s 7 years since School of Rock and Bad Santa (one of those I mentioned earlier that couldn’t officially be seen by kids) presented kids of the male persuasion as truly autonomous beings – seriously, outside Harry Potter where the kids just keep getting older, I can’t think of any movie in the interim that really fits the bill. It’s not something I’d normally think about but a movie like this comes along and I can’t help but be shocked. While male actors clearly still dominate as leads in “grownups” cinema, there seems to me to be an even harsher imbalance when it comes to young boy vs young girl characters, so for me this movie deserves immediate props for not only putting boys front and center but also just slightly messing with gender stereotypes in its own way.

These aren’t cool kids (and how many of us ever were?), nor are they likely to even grow into shining examples of stereotypical manhood. When Greg finally finds out he’s actually good at something – singing – it turns out his voice is too high for any role in the school play (The Wizard of Oz) except the lead, Dorothy. The school’s diva naturally objects immediately, but not because he’s a boy: because of his prior misdeeds. It’s little things like this that set the film apart from anything in recent memory. The movie simply makes it look cool to be yourself and just a waste of time to be anything otherwise – from Chloe Moretz’ monologue at the top on down.

In short it’s a great movie with a great message for young boys in particular; but it’s a message just as likely to be appreciated by all children worried about or struggling with “big school”, and even those of us decades out of the awful place too. The last word goes to Moretz, who had already wowed me in Kick-Ass but here quite simply blew the Fannings out of my ears and shows her ability to do natural. There’s an aura about Moretz here that recalls Jodie Foster and Tatum O’Neal in the mid-seventies. She’s super natural and steals every little scene she’s in. But like I said at the start, though I came to it specifically for her, she really only makes a great movie even better.



St. Trinian’s: The Legend of Fritton’s Gold

St. Trinian’s: The Legend of Fritton’s Gold

Monday, July 12th, 2010

As I said in my review of the first of these revivals of the old British series, I always loved the original Trinian’s movies, and since then I’ve seen them all again on DVD and can tell you I still pretty much do (some aren’t great but always fun). And I even enjoyed that first modern take on the idea… even if, to be honest, I can’t quite remember why right now. I do remember I loved the two first-years in that movie, though, and the first relief here was that they’re back… along with even more of the new intake.

For the most part, for its first half, this movie pretty much appeased my low expectations simply by being clear about its story and easy to follow, along with just a few good giggles (mostly from the younger ones, it has to be said… I can do without the “teen appeal” posing of the older set, I’m sure none of the original Trinian’s girls would’ve been seen dead in Gucci…)

Just when it began to get interesting, that is, delivering on all the setup, there’s a scene that pretty much killed it for me personally. It’s a straight up parody of The Exorcist only it actually concerns real possession, like, it’s not just done as a silly joke, it’s a plot point and everything. I know this is meant to be a silly movie, but that just seemed cheap and plain stupid. It’s not even contained to the one scene, and goes on way too long.

It picks up slightly after this but it’s a tough recovery. The final act here is practically identical to the first movie’s, with the girls descending onto London in a (pretty awesome to behold, has to be said) flashmob scene and infiltration of a Cultural Event. It feels a little lazy, but there is a least a little more from those younger girls from the first movie in this sequence. I think I was just still reeling from the terrible Exorcist gag to get back into it as much as I might’ve in the end. It’s a shame the people behind these remakes feel the need to go so low for a guaranteed laugh from the lowest common denominator etc. Likewise on the Sarah Harding casting and the “cool” treatment of the older girls. It’s way off the original concept to have such mainstream style in a St. Trinian’s movie, at least in my opinion. All this said, I’m sure I won’t be able to resist if they try again.



Fame [2009]

Fame [2009]

Thursday, January 7th, 2010

Here’s another that I looked forward to for a long time once it was announced, though perhaps in a different way entirely. The trailers for this and an interview I read with its screenwriter really got my hopes up for this one, and really even as time wore on I never truly thought it was capable of being as bad as so many first expected and later reported it to be. I love the original movie, it works and I believe still would work for a teenager today who was truly interested in entering the arts; this looked simply like an attempt to update it for the X Factor generation, and I figured (and stand by this): if all it is is “better than X Factor”, then that’s better than it could’ve been.

And it is. I was really surprised by how much remains here not only in spirit but actually whole plot points etc of Alan Parker’s original movie. The grit has been removed, yes; the songs, all but one (“Out Here On My Own”), changed entirely or updated (the “Fame” remix)… amazingly, more than a few of these new songs ain’t half bad, like the replacement for “Is it Okay if I Call You Mine?” The cast of teachers: Bebe Neuwirth, Kelsey Grammer, Charles S. Dutton, the mighty Debbie Allen herself, can only be a good thing, right? And the movie still actually makes this path in life look pretty damn hard: something I really didn’t expect. In fact, I found the movie felt so little at times like it was reaching for that reality/talent show type of fame-seeking audience that I wondered who the heck it was trying to appeal to.

No, it’s not great. Yes, the original is the one you should watch. But this is so much better than it could’ve been, better than countless dance movies of the past decade, better, nay, a thousand times better, than the stage show adaptation I had the misfortune to see in the early 00s. That’s all, really: it’s not bad, and certainly not the crime it could’ve been.



The Great St. Trinian’s Train Robbery

The Great St. Trinian’s Train Robbery

Sunday, May 3rd, 2009

This may be the only one of the originals to be shot in colour but I have to say I got almost nothing from it whatsoever. It irks me to say but here the kinky schoolgirl stuff evolves even further to the point where it is simply leery and smutty and not in the least bit sexy. To be honest, I’d kind of had my fill of the naughty schoolgirls by the time this one came around and I maybe didn’t give it a fair trial but it seems to me (if you’ll excuse the pun) the series had run out of steam too by this point. In 1966 cinema as a whole was on the verge of a giant tipping point that really blew up in 1967 and this whole concept is too much of the old world. I think there were still a couple of laughs to be had and if you like railways, particularly British ones, you’ll find plenty to behold – but it’s no Pure Hell.



The Pure Hell of St. Trinian’s

The Pure Hell of St. Trinian’s

Sunday, May 3rd, 2009

“There’ll always be trouble when there’s arson around.”

This gets off to a reassuring start as the school burns to the ground and all 200 pupils find themselves in a courtroom. As I said in the Blue Murder, it would’ve been easy to spin these off every year and just do the exact same story over and over again. The girls are even more sexualised here and ironically that makes it even less shocking really, there being nothing more pathetic in my eyes to people who clearly want to admit that some schoolgirls are sexy but their only way of showing it is to cast people who look to be 10 years out of school, lol. The Hamlet soliloquy to striptease is kind of brilliant (“It’s the suspense … it’s unbearable!”) and it has as many moments as the other films in the series, but again it’s hardly comic genius.

It could be the cumulative effect of watching them all so closely together (one does always need time to adjust to the style and tone of humour in older movies), it could be the beers I had while watching :-P Or it could be the image of the younger St. Trinian’s girls at the end storming an army base in tanks – nothing better in my mind than such a juxtaposition :) – but this is certainly my fave of the series so far and the one I’m likely to watch again sooner.



Blue Murder at St. Trinian’s

Blue Murder at St. Trinian’s

Sunday, May 3rd, 2009

This seems more like the St. Trinian’s I remember. What surprised me in the first of these was how many younger girls were in the cast. Here, most of the action involves cast whose average age probably rivals Grease for people playing schoolkids. There are still a handful of little ones, but this one clearly makes a move towards the “kinky schoolgirl” thing the series is perhaps unfortunately known best for. There’s some amusement as the girls hit the road and travel across Europe but this section is really a far too short montage when it could have made the whole movie. I was surprised how different the story was from the first movie – it would be easy with such a perfect set up to just bring in more girls and create more mischief in school bounds for 90 minutes. Having watched all four of the originals in one sitting, however, I must say this is one of, if not the, weakest.



The Belles of St. Trinian’s

The Belles of St. Trinian’s

Sunday, May 3rd, 2009

You’ve gotta love a movie that begins with the sound of machine gun fire over a girls’ school sign and a simple POV shot from the inside of a schoolbus over which is laid the sounds of its students screaming maniacally. I’ve probably seen most of the movies in this series in the past, I certainly remember watching at least one of them often when I was really little (which one, I haven’t a clue) – if you can call it watching, I probably liked the idea of mischief at school but missed most of the humour entirely.

What surprised me here is how much the recent remake resembled it – I had the feeling that from the start these movies were populated with much older girls wearing the uniforms etc but was surprised by the number of younger ones present here. Speaking of the remake, I feel the same way about these original St. Trinian’s movie re: the remake as I do the old Pink Panther movies … I’ve never been one to give any immediate high regard to a work on account of its age, and when it comes to discussing the remake in general many too many blindly overpraise the originals and slam the new when in purely objective terms they’re both just pretty unremarkable in the grand scheme of cinema. I really enjoyed the new St. Trinian’s movie, and I really enjoy this – neither will make it high on my faves lists.