Sightseers

In somewhat of a departure from his previous film – the horror thriller Kill List – Ben Wheatley's new film is a dark and rather twisted black comedy set around the British institution of the caravan holiday. I caught this film at a preview screening a few days ago and I have to say that I didn't have any idea what to expect (which was quite a refreshing change). I didn't know if I'd find it funny, hate it or be rather underwhelmed by it. Turns out, it was all of the above...

Written by the stars of the film, Alice Lowe and Steve Oram, Sightseers sees boyfriend and girlfriend Chris and Tina get away from their unsatisfying lives and head to the Lake District on a caravanning holiday to take in some of the 'world-famous' attractions such as the Pencil Museum. However, things soon take a shocking and unexpected turn and the couple quickly lose control of their idyllic holiday. Now, the first thing to say is that the opening fifteen minutes are quite funny as the balance between awkward humour and characterisation was nicely maintained.

However, once Chris and Tina had set off on their holiday, caravan in tow, something terrible happens at the most unexpected of places: a tram museum. Now, without giving too much away, I'll just say that once this plot point had happened, I became totally disenchanted with the rest of the film (which was kind of a big deal seeing as we were less than a quarter of the way through the 88 minute running time). I appreciate that, if you do see this film, you may argue that this event was necessary to set up the tone of the rest of the film but for me, it was the same as watching The X Factor: slightly bemusing and thoroughly irritating.

Tina and Chris are the text book example of anti-heroes and the performances from Lowe and Oram were very naturalistic and convincing. This was partly due to some solid direction from Wheatley whom, I think, we'll be hearing a lot more from in the future. The chemistry between the naïve Tina and the initially easy-going Chris was confidently executed but in the end, I just became annoyed with the characters whose actions became rather grating. Few of the scenes were realistic and even fewer were rip-roaringly funny. Maybe I'm missing the point but I felt cheated by the whole thing. The film felt rather uneven and misjudged: the comedy wasn't funny enough and the violence didn't sit well with the comedic intentions: rather disappointing for a black comedy.

Some have praised the ordinariness of the characters which makes their actions so extraordinarily amusing and refreshing for a road-trip killer film. I, on the other hand, just found the whole thing irritatingly unbelievable and fatally un-funny. The premise of British suburban middle-class reservedness being shattered in the most violent way possible promised much but, ultimately, Sightseers not funny enough and is something of a washout. And an ill-judged washout at that. 

Clapperboard Rating: * *

Sightseers is released nationwide on 30th November  

The Twilight Saga: Breaking Dawn - Part II

Last Wednesday, I was fortunate enough to attend the European Premiere for the final instalment of The Twilight Saga and walk the red carpet. I have to admit that I felt slightly guilty that the hundreds of 'Twi-hard' fans who had camped out overnight weren't even going to see the film and I was. But hey, it's a perk of the job. The Twilight Saga: Breaking Dawn – Part II brings to a close a series of films which have created a hype incomparable to anything seen before. So, is the film a worthy send-off for the fans or is the whole thing, as many critics believe, slightly anaemic?

Looking at my review for Breaking Dawn – Part I, I was struck at how nice I was about it. Sure, there were serious issues and the character of Bella left much to be desired but, overall, I seemed to have quite enjoyed it. My main problem was with stuck-up critics who dismissed the film with scathing reviews and who didn't seem to appreciate the film on the fan level. I have tried to do this and am happy to report that Breaking Dawn – Part II will delight fans and, perhaps, non-fans like me.

Picking up from where the previous film left off and directed again by Bill Condon, Breaking Dawn – Part II sees the Cullen family call on other vampire clans to help protect Bella and Edward's daughter, Renesmee, from the Volturi who falsely believe that she is a threat to their existence. From the beginning of the film, it is clear that the moping, moody and rather feeble Bella of old is long gone. Now a vampire, Bella relishes in her new-found skills, darting around a forest in a cocktail dress (not the most practical attire, I know), trying to hunt and repress her desire for human blood. Her newly-acquired strength is used to great effect (and much to the dismay of Emmett Cullen, played by Kellan Lutz) and it was quite refreshing to see her take control of events around her.

Robert Pattinson's smouldering look has now been honed to a fine art and the chemistry between Edward and Bella, now cemented with the presence of their daughter (played by 12 year-old actress Mackenzie Foy), seemed unforced and believable. There is little doubt that the franchise has become rather self-conscious: the obligatory scene in which Taylor Lautner removes his shirt (and trousers this time!) was greeted – rather fittingly – with wolf whistles from the audience and it was obvious that the films have become acutely-aware of what the fans want. In narrative terms, the film's first half did feel rather episodic and disjointed as moments from the book were translated to the screen. On another level, the film suffers from introducing too many characters, with too little to do and who end up standing around as if waiting for a family photo. Even the most devoted 'Twi-hards' may find keeping track of who's-who a little confusing, although the dynamics between Edward, Bella and Jacob seemed genuine, funny and were nicely developed.

The film's final act was both demented and bizarre, as the Volturi (led by the bubbly evil of Michael Sheen) closed in on the Cullens. If you want to see Dakota Fanning's head being removed by a wolf, then this is the kind of manic film for you. This is not to say that, in a strange way, the denouement wasn't enjoyable. In fact, it is so mad that it kind of works and, without giving too much away, it offers a twist that even fans of the books may not be expecting. From a visual perspective, the film retains a CGI aesthetic – most obvious in a love scene between Bella and Edward – and certainly looks glossy. Fans will be kept happy by a montage end credit sequence set to Christina Perri's A Thousand Years and, in general, will be very pleased with the conclusion to the ultimate vampire love story.

The Twilight Saga: Breaking Dawn – Part II isn't a fantastic film by any means. But what it does succeed in doing is bringing the franchise to a satisfactory end for fans. The cast have matured and developed into their roles, the romance which enchanted so many in the beginning is still alive and well and it does, in the end, remain true to the spirit of Stephenie Meyer's novels. Popular with older critics it may not be, but The Twilight Saga has struck a cord with millions of people, many of whom will defend the series to the death. And you can't argue with that.

Clapperboard Rating: * * * 

Rust and Bone

It is a real shame that many people steer clear of foreign films. Offer most of my friends the chance to watch a subtitled movie and they'll look at you as though you've just announced that you've got bubonic plague. But, you know what? It's their loss. Rust and Bone – a French production – is a strong contender for the Top Five Films of 2012 and if you see it, I'm sure you'll agree that the pea brains who don't go anywhere near the faintest sound of an accent are missing out. Big time.

From the celebrated French director Jacques Audiard, Rust and Bone is an atypical love story starring Marion Cotillard (most famous for her roles in Inception and The Dark Knight Rises) and Matthias Schoenaerts (no, I don't know how to pronounce it either). Cotillard plays Stephanie, an orca whale trainer who, after a horrific accident, develops a strange and deep relationship with Ali (Schoenaerts), a nightclub bouncer who wants to make it big in the world of boxing and kick-boxing. Their relationship is flawed, intense and hugely touching and the performances from both Cotillard and Schoenaerts are nothing short of stunning. The character of Stephanie, vulnerable and yet fiercely strong-willed, was portrayed with such intensity by Cotillard that she was intoxicating to watch.

Audiard's direction achieved a perceptive balance between the brutal violence of Ali's fights (where losing a few teeth was to be expected) and the tenderness with which he treated Stephanie. Actually, tenderness is the wrong word. Ali's initial encounters with Stephanie are unsympathetic and rather one-sided. Schoenaerts portrays a character whose actions often hurt those he should love the most; he is not actively cruel but has little awareness of how devastating his behaviour can be to those around him. His poor relationship with his young son only scratches the surface of his inner turmoil and this, perhaps, is why he hits it off with Stephanie. Both are emotionally-damaged and seem to find comfort and strength in the other's problems. There is a quiet, unspoken understanding between the pair, which makes for an incredibly moving love story.

Shot with a beautiful juxtaposition between idyllic beach sequences and dark, blue tones of domestic spaces, the film retains a sense of realism, despite having a plot which could easily be described as ludicrous melodrama. Whilst the last ten minutes did slightly slip into overbearing sentimentality, the rest of the film is so good that I forgave it. There's a scene where Stephanie re-lives her whale training sequences from a wheelchair on her balcony, set to Katy Perry's pop-tastic Firework. In any other hands, this would have shouted 'emotional manipulation' louder than a John Lewis Christmas advert but Audiard, somehow, manages to create a moment of concentrated power.

Rust and Bone is a painful, consuming, intelligent and bruising film, with two fantastic leads in roles which are fascinating to watch as they develop and redefine themselves against a plot which rarely offers them anything to smile about. The sex is graphic, the emotions raw and although totally unorthodox, the film is utterly convincing. Rust and Bone demonstrates the true power of cinema and I urge you to see it. 

Clapperboard Rating: * * * * * 

Skyfall

Having made £37.2m in its first week of opening, Skyfall is on course to become one of the most successful Bond films to date. Daniel Craig's third outing as everyone's favourite spy only has to surpass £93.5m to become the highest-grossing UK release of all time, therefore beating James Cameron's Smurf epic. So, the question is, unlike Avatar, does Sam Mendes' take on the 007 franchise deserve such huge box office success? The answer is a resounding yes.

Timed to coincide with the release of Dr. No in 1962, Skyfall is the twenty-third Bond film and sees MI6 come under direct attack and Bond's loyalty to M is pushed to the limit. This is, without a doubt, the most personal of the 007 films and Craig is quickly becoming one of my favourite actors in the role. His performance in Skyfall is both quietly nuanced and brash; aggressive and sensitive and supremely intense. The supporting characters are fantastic as well. Two Bond girls (or three, depending on how you look at it), a scarily-camp villain (Javier Bardem), Ralph Fiennes and the inimitable Judi Dench as M gave the whole thing a sleek and elegant feel.

From a bike chase in Istanbul to a denouement in the Scottish highlands, the action is achingly visceral and enthralling, whilst still retaining the real essence of Bond which had – arguably – been missing from recent films. Craig has returned Bond to his literary roots and champions a dark, even malevolent, character with a traumatic past. I really admired the film's focus on Bond as a human and not the perpetually immaculate, suave womaniser which has characterised so many previous films. This is not to say, of course, that Craig isn't full of quick one-liners and he certainly does the rounds with the women. But Daniel Craig's 007 has matured and is rather battle-weary: he fails a fitness test, is much more affected by his fights (both physically and emotionally) and has even developed tear ducts. This multi-dimensional characterisation was a joy to watch and Craig's performance was very self-assured.

On a visual level, Skyfall looks exquisite. Luscious cinematography from Roger Deakins, combined with an engaging narrative and great direction from Mendes created a picture which oozed style and sophistication – just what you want from a Bond film. Adele's theme gave the opening credits a real sense of occasion and set the tone of the film perfectly. Bardem's villain – a cyber-terrorist – was enigmatic and intoxicating to watch as he strutted around with his henchmen and was really rather scary as, in a very surreal scene, he began to stroke Bond's thighs. Coupled with just the right amount of exposition and action, the pace of the film – although long at 143 minutes – seemed appropriate and well planned.

Skyfall is a dramatic, rich and highly-enjoyable return to form and can easily be considered as one of the best Bond films. It has the cars, the locations, the gadgets, the women and the action, all cemented by Craig who is fantastic. In a year of all things British, you can't get more British than Bond and if you haven't seen it, see it. It won't disappoint. 

Clapperboard Rating: * * * * *