Thierry Guetta is obsessed with filming things. Whether it be the morning routine or a trip to the shops, the L.A. based Frenchman won’t let his camera miss it. But when his cousin, a French street artist known only as Space Invader, introduces Thierry to the temporary nature of his craft, suddenly his recordings take on new purpose. With street art fast becoming his obsession, Thierry sets his sights on the daddy of them all; Britain’s master prankster, Banksy. Little did Thierry know that it would be the elusive artist who ended up turning the camera on him…
Taking up direction duty for first time since his impressive debut, Gone Baby Gone, Ben Affleck makes his second contribution to the ever expanding sub-genre of Boston crime films. Giving a romantic charm to a story of master criminal versus determined cop that Michael Mann would be proud of, it follows the plight of bank-robber Doug MacRay. Desperate to get out, but hopelessly locked in, will Doug get the girl like Will Hunting, or bite the dust like John Dillinger? Most importantly, will he ever get to leave The Town?
“Acting is not creativity, it’s doing what somebody else tells you to do,” Joaquin Phoenix declares in I’m Still Here, a film that charts his decision to stop being a thespian, grow a massive beard and rediscover himself as a rap artist. Is he crazy? Contradicting his own soundbyte with the most intriguing performance of his career, the answer is a resounding no. The story Phoenix and brother-in-law Casey Affleck have crafted is not insane, but assured – a fascinating study of self-identity.
For decades, Fritz Lang’s expressionist sci-fi Metropolis has been considered an indisputable classic. This fact has not changed. The film, however, has. With its running time having been cut by a quarter shortly after its German premiere in 1927, the full version of Lang’s epic was long presumed lost, until it miraculously turned up in Argentina two years ago. Having been recut and restored, the version we see now is the closest audiences have been to Lang’s vision in over 80 years – and it’s just as astonishing as you might expect.
It’s the fourth installment in the Resident Evil franchise and IT’S IN 3D! Alice is back to kick-ass and not even the removal of her powers is going to get her to calm down. Ain’t nothing going to hold this girl down. Evil corporation, mneh. Zombies, puh-lease. The traitorous living, move over, girlfriend! Unfortunatley, even in the spirit of “GIRL POWER”, there is not much to this film aside from guns, the undead and women fighting the undead. With guns. Which I guess is pretty standard for a computer game.
A documentary that simultaneously makes you despair at and exalt in the capacity of our fellow man, The Big Uneasy is an absolute must-watch. Uncovering the real story behind the New Orleans disaster of 2005, it’s a tale of government blunders, buried reports and continuing oversights that culminate in a conclusion far more terrifying than any Hollywood thrill ride. It’s just a shame that John Goodman keeps interrupting.
John C Reilly and Jonah Hill plod happily through comedy/drama Cyrus; it’s just such a shame that their material never quite matches their obvious talent. Though a few moments of great dark humour lift the storyline, dreadful camera work and a lack-lustre ending drag Cyrus’s high flying stars down almost to amateur level.
At the invitation of the Swedenborg Society, Best For Film is publishing a special series of reviews to follow its ‘Images of the Afterlife in Cinema’ film season, which will be exploring life, death and everything in between. This week we’re looking at the Japanese classic; Afterlife.
Everyone loves a buddy comedy, right? Sure the laughs are cheap, but generally they’re thick, fast and cheerful, with a plot that careers like an enthusiastic labrador to a satisfyingly predictable conclusion. Bless them, we say. Bless all who ride in them. Unless, of course, you’re talking about Hot Tub Time Machine; the laziest, dully-degrading, least funny bromance movie we’ve seen in some time, made all the more offensive by the evident comic potential of the cast. Oh dear oh dear. And the title was so awesome.