Friday Five: Hairstyles

Going to the hairdresser can make you feel great. A good hairstyle can give you confidence, whereas a bad one can ruin your day. Of course, different styles suit different people (and different moods and occasions), but there are some classics that always look stylish.

5 Favourite Hairstyles:

1. The beehive - preposterous but fabulous. I'm thinking Dusty Springfield, Bridget Bardot, Audrey Hepburn here; not Amy Winehouse or Marge Simpson
2. The crew cut, or variations on the theme for men, such as the suedehead, which is basically a growing out crewe cut. It's just a good, honest style that indicates you're not so vain that you spend hours messing about with hair product - I find that important in a man
3. The asymmetric bob - I'm aware that it doesn't suit everyone and is possibly detrimental to your eyesight, but it's intriguing
4. Beach hair - the long, tousled, curly, side-parted, messy but not look. You know; the one favoured by the likes of Kate Hudson, Heidi Klum and Penelope Cruz - of course it helps to have big eyes and a gorgeous smile
5. Clive Owen - yes, I know that's not actually a haircut per se, but whatever style you would call his just looks effortlessly perfect - short, practical, sexy and sophisticated - lovely; just lovely.

Submarine

Submarine
(dir. Richard Ayoade)

Oliver Tate (Craig Roberts) deadpans early on in Submarine, “The only way to get through life is to picture myself in an entirely different reality”. With cringing self-consciousness he imagines he is original, although he is actually an achingly average adolescent. His primary concerns are to protect his parents’ marriage and to lose his virginity.

Richard Ayoade directs a superbly self-aware film that knows what it wants and isn’t afraid to draw attention to how to get it. Oliver maintains a voice-over at pertinent points in the film, noting things like, “I wish life could be more like American soap operas – then when things got dramatic you could fade down and pick it up later.” When a dramatic event does present itself he sighs, “Sometimes I wish there was a film crew following my every move. At this rate I’ll only have enough budget for a zoom.” And indeed, there is a zoom shot. It’s painfully artistic but manages to be entertaining too.

Oliver’s parents (Lloyd and Jill) are excruciatingly embarrassing in the way that only parents of teenagers can be. They are played with compelling awfulness by Noah Taylor and Sally Hawkins (whom I normally find extremely annoying – here she is pitched just right). Oliver spies on them and monitors their conjugal relations by their use of the dimmer switch in the bedroom.

When Graham Purvis (Paddy Considine with a ghastly Paul King mullet), an old flame of Jill’s, moves in next-door, Oliver fears for her fidelity, especially when she attends Graham’s new-age nonsense meetings and disappears with him into the back of a sign-painted black transit van. Her husband Lloyd, reacts with a dignified depression that only makes sense once you’ve left pretentious puberty behind.

Oliver doesn’t want to be a bully but if that’s what it takes to fit in at school (filmed with painful nostalgia at Bishop Gore High School in Swansea) and get the girl (the oh-so-cool pyromaniac Jordana Bevan – Yasmin Paige) then he’ll give it a go. He fancies himself as something of a hero in his duffel coat and considers the fact that he is roundly ridiculed to be the fault of his peers, not his affectations.

He tells Jordana “It might be nice to develop more mutual interests besides spitting and setting things on fire” and their tentative sexual encounters are reminiscent of every awkward experience you haven’t managed to eternally erase from your memory. He conducts a Super 8 eight footage of memory – capturing a grainy montage of ‘two weeks of love-making’.

Typically emotionally stunted and self-absorbed, when his parents threaten to split up all he can think of is how this will affect him. He is equally insensitive to Jordana’s troubles, and is simply annoyed that “in the Top Trumps of parental problems, cancer beats infidelity”. All this is played out against the sublime whimsy of Alex Turner’s (The Arctic Monkeys) music, including sample lyrics such as “You can leave off my lid and I won’t even lose my fizz” and “If you’re going to try and walk on water make sure you’re wearing comfortable shoes.”

I’m not quite sure in which era this film is meant to be set – sometime at the end of the last century at a guess. The clothes and hairstyles are early 80s; some of the cultural references are late 80s/ early 90s, and the playground argot (such as the use of the term ‘gay’ in a derogatory manner: ‘displays of emotion are gay’) is later again. Mind you, time loses all dimensions in South Wales so we are genuinely adrift.

The cast (young and adult) are superb and the acting is nuanced and intelligent. As the title suggests, there is much to negotiate beneath the seemingly placid surface, suspended in suburbia trying to decide whether to sink or swim. This is definitely better than your average film flotsam.

Films watched in 2011 (Part Three)

No Strings Attached (dir. Ivan Reitman, 2011)
A bonk buddy film in which the platonic friends with benefits fall for each other – oh, how original. It’s meant to be different because it’s the girl who shows indifference, but she changes in the end, as we knew from the beginning.

The Oxford Murders (dir. Alex de la Iglesia, 2008)
The billing of Elijah Wood and John Hurt led me to expect more than a Dan Brown does Midsomer Murders type of affair, sadly erroneously as it turns out. That’s actually unfair to Midsomer Murders, which is at least entertaining.

P.S., I Love You (dir. Richard La Gravenese, 2007)
Yes, Hilary is still wank but Gerard Butler does sexy Celtic goofball pretty well (as a Scotsman he plays Irish well enough that most Americans won’t know the difference). The only surprise is that he’s meant to be the dead one sending messages from beyond the grave, while she is the one acting like she’s in the wooden box. On the movie-review site, Rotten Tomatoes, this was liked by 82% of audiences as opposed to only 11% of top critics. That tells you all you need to know about the target market.

Portrait of a Lady (dir. Jane Campion, 1996)
Nicole Kidman has become very hit and miss – here she is very miss, but she still looks good as does everything else – and therein lies the problem. The slavish adherence to Henry James’ classic lacks any nuance.

Rage (dir. Sally Potter, 2009)
Disappointingly forgettable despite an excellent cast (Judi Dench; Eddie Izzard; Lily Cole; Jude Law; Dianne Weist; Steve Buscemi; David Oyelowo) and great premise – an exposé of the fashion industry caught on candid (cellphone) camera. It might have made a decent experimental theatre piece or even installation artwork, but doesn’t capture enough interest on screen.

The Road to Guantanamo (dir Mat Whitecross and Michael Winterbottom, 2006)
A topical reconstruction of events that led to three British citizens being held at Guantanamo Bay. I don’t agree that denying human rights legislation to detain potential terrorists in the war against terror is acceptable. Neither do I believe these guys are entirely innocent or truthful – if you are going to a friend’s wedding in Pakistan, why would you pop into Afghanistan as the borders are closing for three weeks instead? This and many other questions remain unanswered, as reasons and motives remain buried beneath too much sound and fury – more drama than documentary.

Sanctum (dir. Alister Grierson, 2011)
Australian cave-diving drama with pitiful dialogue and acting, and clearly signposted undercurrents of father/ son tension – supposedly better in 3D; yet another example of technology swamping all other cinematic considerations.

Scott Pilgrim vs the World (dir. Edgar Wright, 2010)
An intelligent and amusing way of melding the virtual with the visual in an oddly appealing teen romance portrayed as an X-box game.

Sex and the City (dir. Michael Patrick King, 2008)
Before having seen this film I didn’t know what all the fuss was about. Apart from daring to suggest that women over 30 should be allowed out in public (and on celluloid), I still don’t.

A Single Man (dir. Tom Ford, 2009)
Colin Firth plays slightly against type in a serious role about an English professor struggling to cope with his partner’s death in early 1960s America – an alien in LA before it really came out. So good it hurts.

The Social Network (dir. David Fincher, 2010)
Facebook is not the devil’s work – it is a pathetic attempt by selfish whining nerds to be taken seriously. A good script and solid performances prove we should communicate off-line more.

Source Code (dir. Duncan Jones, 2011)
A modern Minority Report – you get to go back in time (over and over again) until you can change the course of history, but only if you’re prepared to make the ultimate sacrifice – and if you’re not, the American government will make you make it.

State and Main (dir. David Mamet, 2000)
Funny, clever, self-reverential film about making a film. An amusing script and intelligent acting, but possibly too in on its own jokes to be great.

Submarine (dir. Richard Ayoade, 2010)
Gorgeously geeky low-budget Welsh festival film in which 15-year-old Oliver Tate imagines himself as a hero in a film about his life, dealing with angst issues common to teenagers everywhere (and especially in Swansea).

Tamara Drew (dir. Stephen Frears, 2010)
A film based on a comic based on a book should by rights be a huge incoherent mess, but it works brilliantly due to sensitive directing and a stellar cast – Gemma Arterton; Roger Allam; Dominic Cooper; Tamsin Greig.

Too Big to Fail (dir. Curtis Hanson, 2011)
Excellent – great acting, snappy dialogue and a huge issue: focussing on the Lehman Brothers’ bankruptcy and the subsequent global financial meltdown. It is delivered with intelligence and dignity, bravely putting forward both sides of the argument.

The Tourist (dir. Florian Henckel von Donnersmarck, 2010)
Johnny Depp, Paul Bettany, Rufus Sewell, espionage plot, Venice setting, canal chases..., what’s not to like? Two words: Angelia Jolie – it seems she can ruin just about anything.

The Tree of Life (dir. Terrence Malick, 2011)
Pretentious, art-house, drug-addled, irritating nonsense – Brad Pitt and Sean Penn are wasting their time, and mine.

The Trip (dir. Michael Winterbottom, 2011)
Steve Coogan and Rob Brydon play sort of themselves in a semi-scripted not-quite road trip as they travel the North of England in the bleak (but beautiful) mid-winter, dining at restaurants and ‘critiquing’ the food – ‘the tomato soup was tomatoey. And soupy.’ – while arguing over who does the best Michael Caine impression. What could be better? Not a lot. This homesick-inducing film would have to be my favourite of the year.

True Grit (dir. Ethan Coen and Joel Coen, 2010)
Oscar-nominated Western revenge action quest – I haven’t seen the John Wayne original, but the friend I saw it with says he has and it’s just as good in a slightly different way.

Up in the Air (dir. Jason Reitman, 2009)
Slick and diverting, likeable without being too demanding, and ultimately positive without being saccharine – and that’s just George Clooney. One great line of many: “We’re two people who get turned on by elite status. I think cheap is our starting point.” This fine example of the friends with benefits theme is anything but cheap, arguing in a roundabout fashion that everybody needs somebody to love.

Wendy and Lucy (dir. Kelly Reichardt, 2008)
A vagrant girl forms few attachments as strong as the one with her dog. It’s slow, gentle, slightly haunting and quiet, and you know you will cry.

Winter’s Bone (dir. Debra Granik, 2010)
Girl attempts to track down her druggie dad in a grim landscape, while playing the tough oldest sister with family responsibility. Jennifer Lawrence was rightfully nominated for an Oscar for her gutsy performance, and deserved it more than Natalie Portman. The film was also nominated for Motion Picture of the Year, but didn’t stand a chance against The King’s Speech.

Zombieland (dir. Ruben Fleischer, 2009)
Zombie apocalypse comedy with Jessie Eisenberg (before he did The Social Network) as a shy student trying to get home in a weird and not-so-wonderful world. He teams up with veteran Woody Harrelson as a vengeful redneck zombie slayer in a series of stock scenes (deserted supermarket; plush mansion; funfair rides and shooting arcades) reinvented with inspirational nonsense. Banjos can be deadly.

Friday Five:Mini Steps to Recovery

Six weeks ago I ruptured my medial head gastrocnemius playing football. Apparently it is a textbook injury (I prefer the word 'textbook' to 'common') and the rheabilitation period is twelve weeks, made in incremental steps.

I spent two weeks in a cast with my leg totally immobilised, and hobbling around on crutches, and no, sadly, I didn't look anywhere near as good as Emily Blunt. I am going to the physio two or three times a week and doing stretching and strengthening exercises for about two hours a day. It's getting better slowly and steadily, but it will be another six weeks before I am allowed to run again (and I'm not sure if and/or when football will be permitted again).

Yesterday I returned the crutches to the hospital with a great sense of satifaction, and it led me to think about injuries and recovery and the things we (or certainly, I) take for granted.

5 Mini Steps to Recovery:

1. Being able to carry stuff, particularly drinks, particularly hot drinks - have you any idea how long it takes to move a cup of coffee from room to room by putting it on a surface, picking up the crutches, hopping forward a step, putting down the crutches, moving the cup forward a few inches, picking up the crutches, hopping forward a step, etc? About twenty minutes. Of course, I could just lean in the kitchen and drink it standing up, but that somewhat defeats the purpose.
2. Being able to stand up - hopping around art galleries or racing through airport terminals is simply not possible so although most of the time crutches are manageable, there were occasions when I needed to be in a wheelchair. Although some of my friends enjoyed pushing me around for a change (you know who you are), it is not pleasant to be at groin level with the general public - especially those who insist on exposing midriffs and bumcracks. Please put it away - I don't want to look and when I am at this height, I really haven't got a choice!
3. Having a bath - sitting on a garden chair in the shower with a plastic bag wrapped around your leg just isn't the same.
4. Driving a car - it's my left leg, so if I drove an automatic it wouldn't be a problem, but I don't and so it is. The pressure you need to apply to depress the clutch and change gears has been beyond me for the last month and a half. Appreciative as I am of Him Outdoors dropping me off and picking me up from places, the nature of his job means he is on-call and his timekeeping is fluid if a call comes through that he must attend. Being given the all clear to drive last week has returned much of my freedom and independence - hurrah!
5. Exercise - I never thought I'd miss it. Times have been tough over the last couple of months and I realise that I like to get out and go for a jog or a bike ride in the fresh air to clear my head and stop things getting me down mentally. As this has been impossible I have been sitting in the sweltering heat with my leg elevated and my mind churning over depressing thoughts. Yesterday I went for my first bike ride in the outdoors (only twenty minutes around the block, but so much better than the stationary bike in the garage) and it felt good.

This is not part of the recovery five, but I have noticed the amazing kindness and generosity of many of my friends, from holding doors open for me, to patiently waiting while I hobble slowly, sitting doing nothing but drinking cups of tea or glasses of wine, and even coming round to hang out my washing when I was incapable. Thank you all - you're great and I appreciate all your friendship and support.

Films watched in 2011 (Part Two)

The Fakers (dir. Richard Janes, 2004)
Crime comedy set in London – witty gangsters; art forgeries and high stakes – you know the sort of thing.

The First Grader (dir. Justin Chadwick, 2011)
Beautifully shot although entirely predictable film about an 84-year-old man attempting to go to primary school in Kenya to take advantage of the free education. If you allow yourself to be swept up in the emotion, you will be moved even if manipulated.

From Paris with Love (dir. Pierre Morel, 2010)
John Travolta and Jonathan Rhys-Meyers play the good cop/ bad cop CIA pairing in a high-octane spy drama with lots of guns and fast cars – set in Paris. Written by Luc Besson (who wrote and directed the far-superior Léon) it’s fast (92 minutes), frenetic and very silly but a good boy film that girls can like too.

Get Him to the Greek (dir. Nicholas Stoller, 2010)
This was better than I was expecting, largely due to Russell Brand actually being quite appealing – he does sensitive and highly-strung as well as over-sexed and funny. The film plays to his strengths as he pretends to be a rock-god/ fallen idol, and Jonah Hill, as the hapless record-company flunky who has to get him to the Greek theatre in time to perform his gig, is personable enough that you hope he achieves his mission, despite overwhelming obstacles of sex and drugs and rock and roll.

The Ghost Writer (dir. Roman Polanski, 2010)
This interesting adaptation of the Robert Harris novel removes all of the subtlety and political satire to focus purely on the action and the thriller mystery aspects, but does it very well. Ewan McGregor plays the patsy memoir writer to Pierce Brosnan’s troubled prime minister, while Olivia Williams and Kim Cattrall provide strong support.

Happy, Happy (dir. Anne Sewitsky, 2010)
These two couples are anything but – but they live in Norway, swap partners and wrestle in the snow, so that’s all the stereotypes accounted for, then. Strangely, it still manages to be a bleakly entertaining film.

Harry Potter and the Deathly Hallows, Part 2 (dir. David Yates, 2011)
And so it is finished, and I am glad. It probably makes a difference if you see it in 3D, because in normal 2D it seems flat – once again, acting, plot and characterisation are sacrificed on the altar of special effects. This is cinema for the ADD generation.

I’m Not There (dir. Todd Haynes, 2007)
Bob Dylan biopic with the shaggy haired folk-singer played by six different actors, to represent different aspects of his career and personality, most notably Cate Blanchett, whose performance earned her an Oscar nomination. Bits of it are inspired but it is also rather rambling and goes on too long.

The Importance of Being Earnest (dir. Brian Bedford, 2011)
The filming of a Broadway production of the Roundabout Theatre Company’s performance is more interesting as an alternative media experiment than as an interpretation of Oscar Wilde’s classic. Brian Bedford plays Lady Bracknell as a pantomime dame which is all very amusing but lacks depth and nuance.

Inception (dir. Christopher Nolan, 2010)
The girl at the video shop told us we would have to concentrate very hard to understand this film starring Leonardo DiCaprio. She was wrong as it all seemed fairly obvious to me, although the dream within a dream within a dream etc was an interesting angle, and the shifting physical perspectives were effective.

The Insider (dir. Michael Mann, 1999)
Russell Crowe discovers that attacking the big bad tobacco companies cannot end well in a drama with issues of integrity and responsibility, of both the perpetrators and the whistleblowers.

Just Like Heaven (dir. Mark Waters, 2005)
Reese Witherspoon twinkles as the ghost in Mark Ruffalo’s apartment in a rom-com rather than a horror way. Sweet, charming, corny and predictable – great rainy Sunday afternoon stuff.

The King’s Speech (dir. Tom Hooper, 2010)
Superlative acting, directing and screenwriting led to a thoroughly deserved Oscar haul for this practically perfect film.

The Last Station (dir. Michael Hoffman, 2009)
You can’t ever understand what goes on inside a relationship – especially when it’s Tolstoy and his wife trying to reason what to share with the public and what to keep for themselves, and especially when they are played (with fabulous sincerity) by Christopher Plummer and Helen Mirren.

Limitless (dir. Neil Burger, 2011)
If you could take an unauthorised drug that would lead you to be smarter and better at everything without knowing the consequences, would you? Of course you would. What happens when the consequences catch up with you? Bradley Cooper may or may not find out in this smart sci-fi thriller with several twists.

The Lincoln Lawyer (dir. Brad Furman, 2011)
Matthew McConaughy is not averse to performing dubious legal manoeuvres from the back of his Lincoln, but he draws the line at defending sleazy little rich kids – nicely done.

Little Shop of Horrors (dir. Frank Oz, 1986)
I finally watched the film of the musical with the big singing plant – totally ridiculous and quite good fun with a great turn from Steve Martin as a sadistic dentist, and a harmonious narrative chorus.

Love Birds (dir. Paul Murphy, 2011)
Feather-brained comedy about two completely mismatched people (Rhys Darby and Sally Hawkins) who get together due to a child and a duck – largely forgettable.

The Maiden Heist (dir. Peter Hewitt, 2009)
Three old security guards hatch a plan to steal their favourite artworks to prevent them from being sold to another art gallery. Despite a trio of great actors (Christopher Walken; Morgan Freeman; William H. Macy), it is ponderous and feels long at 90 minutes.

The Mark Pease Experience (dir. Todd Louiso, 2009)
I don’t usually watch films about inspirational teachers in high school and, even though this is meant to be a comedy with Ben Stiller debunking the genre, it still reminded me why.

The Mechanic (dir. Simon West, 2011)
A professional hitman takes on an apprentice – the son of his murdered mentor. It’s a man’s world, apparently, and Jason Statham is king.

Midnight in Paris (dir. Woody Allen, 2011)
Woody Allen directs Americans in Paris in a time-hopping romantic comedy with a clear love of the city throughout the ages, including the present.

Morning Glory (dir. Roger Michell 2010)
Harrison Ford and Diane Keaton are an inspired pairing in this comedy about the sound-bite-obsessed morning TV where real journalism is eschewed in favour of celebrity gossip and motivational yoga. There is a lesson to be learned and it is stop casting Rachel McAdams – she is annoying.

Films watched in 2011 (Part One)

Having already posted about my favourite films released in 2011, I thought I would post about all the films I saw this year. Of course, they were not all released this year, so I have put the year in brackets. There are quite a few of them - once again, I didn't realise I have seen so many, so I shall split them up into three posts. They are in alphabetical order, so without further ado...

13 (dir. Gela Babluani, 2010)
An English-language remake of the 2005 French film 13 Tzameti, starring Sam Riley, Ray Winstone, Curtis Jackson, Mickey Rourke and Jason Statham – a kind of Clockwork Orange menace brought to Russian roulette.

Adam Resurrected (dir. Paul Schrader, 2008)
Jeff Goldblum stars as a literally barking mad Holocaust survivor in an asylum – not exactly a laugh a minute, but it’s certainly different.

Adjustment Bureau (dir. George Nolfi, 2011)
Smart sci-fi, futuristic, action adventure about how much we control our destiny and how much it is controlled by outside forces, with solid performances by Emily Blunt and Matt Damon.

Anonymous (dir. Roland Emmerich, 2011)
If you are happy to go with the premise that the Earl of Oxford wrote the plays attributed to William Shakespeare (despite being dead when the events that inspired some of the bard’s greatest works – including MacBeth – occurred), and have no idea about English social history, you might enjoy this over-earnestly acted period piece. However, the character of Shakespeare himself (played by Rafe Spall) is still the most entertaining thing in it.

Being John Malkovich (dir. Spike Jonz, 1999)
It must be tough – it’s certainly crazy, according to this film, and also insanely brilliant.

Being Julia (dir. István Szabó, 2004)
Annette Bening is fantastic as the ‘older actress’ (40) resorting to desperate measures to get noticed in a youth-obsessed industry. And this was in the 1930s! Based on a short story by Somerset Maugham, the story rings true and provides wry smiles, sharp dialogue and credible characterisation.

The Birthday Girl (dir. Jez Butterworth, 2001)
From the days when Nicole Kidman actually acted; she speaks Russian too – she’s pretty good at both in this offering.

Bitter/Sweet (dir. Jeff Hare, 2009)
This is meant to be a romance/drama/comedy, but there is little of either with an entirely predictable story-line (I’m reluctant to use the word plot) and woeful acting from the leading lady, but the scenery is nice – it’s set in Thailand.

Black Swan (dir. Darren Aronofsky, 2010)
The trailer for this is better than the film itself. It’s a bit bonkers with no surprises to anyone who has even rudimentary knowledge of Swan Lake. I believe it is meant to be a psychological thriller but I found myself laughing out loud. Bizarrely Natalie Portman won an Oscar for best performance by an actress in a leading role, although Mila Kunis outshines her in every way.

The Box (dir. Richard Kelly, 2009)
Would you open a box if it meant you would get a million dollars and someone you didn’t know would die? Sort of like philosophy for dummies; college students will love it.

The Boy in the Striped Pyjamas (dir. Mark Herman, 2008)
For some reason I was expected the ending to be changed to a happy Hollywood affair – the fact that it remains the same as the book managed to shock me even though I was expecting it. The tension is maintained throughout – a well-produced film.

The Break-Up (dir. Peyton Reed, 2006)
Jennifer Aniston has a nice bum; Vince Vaughan has a sense of humour and is probably better off without her – that’s all I can tell you from watching this film.

Brighton Rock (dir. Rowan Joffe, 2011)
Graham Greene’s classic tale of teenage nihilism has been moved to the 60s, presumably because audiences will find it easier to relate to, but even with superb performances from Helen Mirren, Sam Riley, Andrea Riseborough and Philip Davis, it lacks the necessary menace and foreboding to make it a top-rate thriller.

The Butcher’s Wife (dir. Terry Hughes, 1991)
This is how they made rom-coms twenty years ago with Demi Moore and Jeff Daniels as the love interests; thank God those days have gone.

Cewek Gokil (dir. Rizal Mantovani, 2011)
An Indonesian film in which the ‘star’, Keke, narrates the story of how she desperately wants her own car to gain independence and help her mother; the acting is uniformly bad and the cod psychology even worse – a Disney-style capitalist’s dream in Indonesia.

Chaos Theory (dir. Marcos Siega, 2008)
Entertaining rom-com/drama about a man whose highly-structured and organised life is thrown into turmoil by a sequence of unrelated events which threaten to destroy his marriage, career, and family – it ends obviously ever after, but takes quite a fun route to get there.

The Conspirator (dir. Robert Redford, 2010)
Worthy but plodding take on the justice system after the assassination of Abraham Lincoln – James McAvoy is good but even he can’t quite raise it above a pedestrian level.

Crazy, Stupid, Love. (dir. Glenn Ficarra, 2011)
Perfect plane viewing – pretty obvious and not at all demanding with some good solid acting and snappy dialogue. Jacob, played by Ryan Gosling, is the highlight of the film, delivering with panache, one-liners Oscar Wilde might have written were he alive today.

Desperate Remedies (dir. Stewart Main and Peter Wells, 1993)
Deliberately over-blown melodrama with lingering looks to the camera and appalling dialogue; supposedly a classic but like a big bad opera.

Devil (dir. Drew Dowdle and John Erick Dowdle, 2010)
Being stuck in a lift is bad enough, but when your fellow trapped passengers are dying in mysteriously gruesome ways, and one of them turns out to be the Devil, it must be the ultimate nightmare. This story conceived by M. Night Shyamalan is entertaining to watch although Him Outdoors says there are easier ways to get people out of lifts.

Duplicity (dir. Tony Gilroy, 2009)
Spy thriller with action, romance, Clive Owen and Julia Roberts – of course I’m going to love it. All the pieces fit in the puzzle and after all the smart technology, split screens, chronological leaps, dazzling directing, and seductive acting, the final picture is a just reward.

Friday Five: Best Films 2011

One of my favourite things about this time of year is all the lists of best this and that over the past twelve months. Of course, I love lists as much as the next person, so I shall join in.

5 Favourite Films of 2011:

1. The Trip (dir. Michael Winterbottom) - Steve Coogan and Rob Brydon play sort of themselves in a semi-scripted not-quite road trip as they travel the North of England in the bleak (and beautiful) mid-winter, dining at restaurants and 'critiquing' the food - "the tomato soup was tomatoey. And soupy." - while arguing over who does the best Michael Caine impressions. What could be better? Not a lot. This homesick-inducing film would have to be my favourite of the year.
2. Midnight in Paris (dir. Woody Allen) Woody Allen directs Americans in Paris in a time-tripping romantic comedy with a clear love of the city throughout the ages, including the present.
3. Too Big to Fail (dir. Curtis Hanson) Excellent - great acting, snappy dialogue and a huge issue: focussing on the Lehman Brothers' bankruptcy and the subsequent global financial meltdown. It is delivered with intelligence and dignity, bravely putting forward both sides of the argument.
4. Limitless (dir. Neil Burger) If you could take an unauthorised drug that would lead you to be smarter and better at everything without knowing the consequences, would you? Of course you would. What happens when the consequences catch up with you? Bradley Cooper may or may not find out in this smart sci-fi thriller with several twists.
5. The First Grader (dir. Justin Chadwick) Beautifully shot although entirely predictable film about an 84-year-old man attempting to go to primary school in Kenya, to take advantage of the new free education system. If you allow yourself to be swept up in the emotion, you will be moved even if you are manipulated.