Electricity. Fits And New Starts.

Posted on November 2, 2014 by The Sloth

What’s your reaction to the phrase ‘model turned actress’? We’re guessing a groan, maybe some gratuitous eyerolling – generally expressions of derision. So how will Agyness Deyn, the latest high profile model turned actress, fare against those expectations?

Agyness plays Lancashire lass Lilly, a twenty something epileptic. Lilly takes pills every day but they fail to control her fits. We see her in sequined dress and heavy make up on her way to a night out, but she never makes it to her destination, collapsing in convulsions on the pavement to the consternation of bypassers, awaking in hospital covered in a fresh assortment of painful bruises.

But the fits aren’t Lilly’s only concern. Her younger brother, Mikey, has gone missing in London. Worried for his wellbeing, Lilly decides to travel down and look for him (in London! It’s quite big…). Arriving in King’s Cross, a striking, gawky figure in rainbow colours, she may as well have ‘naive’ tattoeed across her forehead. Sure enough, within 24 hours she’s duped and robbed by a homeless woman she’d initially taken pity on. Luckily, not everyone is as merciless. Picked off the pavement after yet another seizure by young professional Mel (Leonora Crichlow), she recognises Lilly’s vulnerability underneath her feisty exterior and insists Lilly stay with her. The two soon become friends and Lilly’s search for Mikey continues.

So, let’s get straight to the point, is Agyness any good? Yes, she’s stunningly good. You didn’t expect that, did you? Watching her, she simply IS Lilly, there is no hint of a ‘performance’, she fully inhabits a wildly complex character with complete naturalism. And that’s just as well because the entire film hangs on her (thankfully broad) shoulders. Part family drama, part detective thriller, part insight into the horror of living with such a debilitating condition, Electricity is an emotionally engaging, thoughtful film that is a pleasure to watch. Hats off, Agyness, The Sloth looks forward to seeing what you do next.

UK release 12 December

My Old Lady

Posted on November 2, 2014 by The Sloth

my_old_lady_poster The Sloth finds it very hard to think ‘Kevin Kline’ without picturing him squishing ketchupy chips up a stuttering Michael Palin’s nose. But perhaps that’s just us. My Old Lady contains neither chips, nor ketchup nor a stuttering Michael Palin. Boo…

Kevin plays Mathias Gold, an American who has inherited a Parisian apartment from his recently deceased father. Broke and seeing it as the answer to his money troubles, a bouyant Mathias arrives in Paris to find the apartment comes complete with elderly resident Mathilde Girard (Maggie Smith). For the apartment is subject to the French real estate practice of viager, entitling Mme Girard to live there and receive monthly ‘pension’payments from Mathias until her death. Mathias is no longer bouyant, particularly after reassurances from Mme’s doctor that, whilst in her 90’s, she is in excellent health and certain to live for quite some time.

But Mme Girard is not his only bugbear. Her daughter, Chloé Girard (Kristin Scott Thomas – duh, who did you expect? It’s set in France, she’s legally obliged to it), quickly arrives on the scene and seizes up Mathias’ less than charitable feelings towards her mother. Upon Mathias’ proposal to sell the apartment, all out war ensues between the two sides.

My Old Lady is based on a play and it shows. All focus is on the dialogue and the characters, often set in the oppressive dark of the gloomy Parisian apartment. Starting out as a dry comedy, the sarcastic, desparing Mathias trading insults with the school-marmy Mme Girard, it soon develops into a more serious drama as revelations about the characters pasts come to the surface. It’s not perfect, it drags a little in places, but when you have three actors of this calibre, what more do you need to do but put them in a room together? Maggie Smith could read the phone book and The Sloth would be interested. One for a pensive, rainy afternoon.

UK release 21 November

The Skeleton Twins. Family To The Bone.

Posted on November 8, 2014 by The Sloth

skeleton How many serious act-oors do you see transitioning successfully to the comedy circuit? Thought of any? Come on, The Sloth’s waiting… So why are so many comic actors able to transition seamlessly into being good serious actors? Is it purely to rub their rounded and wide-ranging talents in everyone’s noses? The latest to emote their way into the thespian fold are Saturday Night Live veterans Kristen Wiig and Bill Hader.

Kristen and Bill play estranged twins Maggie and Milo. Milo, in his own words a ‘classic gay cliché’, is depressed after the break up of a relationship and slits his wrists in the bathtub. Maggie is depressed with her marriage, seemingly fine on the outside but unhappy within. Maggie is also contemplating suicide when she receives a call informing her that Milo, discovered in the nick of time, is in hospital.

So begins the piecing back together of their relationship and themselves. We learn hints of why things have gone wrong through visits from their hippy dippy mother Judy (Joanna Gleason), too busy cleansing auras and realigning chakras to do anything actually useful and family man Rich (Ty Burrell), supposedly heterosexual and married with kids, but evidently a prior beau of Milo’s.

Skeleton Twins is one of these small, dramedy, festival type films that wear their Indie creds tattooed proudly down both arms and which Kristen in particular has been flirting with recently (see the self-conciously drab Hateship Loveship). But that’s not to dismiss it. It stays the right side of selfindulgent, mainly by dint of fine performances from both Ms Wiig and Mr Hader (smartasses….). And if it all sounds too unremittingly serious, it isn’t. Look out for the rather fabulous lipsynching scene to Starship’s Nothing’s Gonna Stop Us Now. You can take the comedians out of comedy, but you can’t take comedy out of the comedians. Or something. You know what we mean.

UK release 7 November

’71. Soldiering On.

Posted on October 7, 2014 by The Sloth

71-efm-1sheet-lr-1 If Idris Elba is the current bookies favourite to be the next Bond, The Sloth is hedging a long range bet on Jack O’Connell being Idris’ successor. Already a master of Bond’s essential moody, thousand yard stare and no stranger to cinematic violence, squint a bit and he could be Daniel Craig’s little brother.

In ’71 Jack plays young British squaddie Gary Hook. A newbie recruit, still green around the edges, Gary finds himself dispatched to the Northern Ireland of the early 1970’s – not a good place to be for a British soldier. His regiment are charged with keeping a very fragile peace in an anti-British Belfast, at a time when IRA militant violence was at its peak. Commanded by a naively inexperienced officer who believes a cheerful smile will get the locals on-side, his regiment are sent to patrol the unpredictable streets with minimal defensive kit.

Within minutes, things take a turn for the worse. A mob of aggressive locals surround the young soldiers, taunting and baying for blood. Tension and panic mounts and the soldiers find themselves under attack, pelted by missiles and molotov cocktails. In the confusion, they beat a chaotic retreat, leaving Gary behind to the fate of the vengeful mob. Fortunately, an older woman takes pity, saving him from the worst of their violence and he makes a run for his life. But what are his chances of survival in such violently combative streets?

We rated Jack O’Connell’s ultra-disturbing turn in Starred Up and he continues to impress here, a master of maximum conveyance with minimal dialogue. Gripping and shot with frightening intensity and immediacy, it captures the terror and animalism of the gang mentality – whether in Northern Ireland or any other political hotspot. Just don’t get so traumatised that you forget to stop by Paddy Power for a quick flutter on the way home

UK release 10 October. More in the same vein? Try Starred Up.

Deux Jours, Une Nuit. Power To The People.

Posted on August 18, 2014 by The Sloth

deux Is there a finer actress working today than Marion Cotillard? Most probably not. Because in the hands of anyone else, Deux Jours, Une Nuit could be mind-numbingly dull. Thanks to her, it’s captivating.

This is a French film. A really French film. For what, apart from a strike or a ripe brie, could be more French than a social realist drama concerning the rights of the workers? Our heroine Sandra (Marion Cotillard), is a factory worker who has been on extended sick leave with depression and is now ready to return to work. However, her colleagues have maintained productivity levels without her. So why should her company pay one more salary than is needed?

Sandra’s colleagues were therefore issued with a vote: i) choose to allow Sandra to return to work OR ii) choose to receive their annual EUR1,000 bonus. Unsurprisingly, colleagues voted to sack Sandra and receive their bonus. But, on discovering misinformation was spread to influence voting, permission is granted for a re-vote, giving Sandra one critical weekend to try and persuade colleagues to choose her, not their bonus. Desperate, ashamed and exhausted, she visits each in turn, listening helplessly to responses across the moral spectrum, from feeble excuses about needing the money for home improvements, to undicided ambiguity, to emphatic support.

We’re no employment lawyer, but surely none of this is legal? Anyway, let’s not obstruct a good moral dilemma. For what could be a dry, heavy handed tract about money being the root of all evil, in Cotillard’s hands becomes gripping, emotional and very human. The film asks a simple question – what is more important, the individual or the greater good? And as Sandra asks this of each colleage it asks the same question of us. Would we spurn our own gain to help another? Vive Le Socialisme! Vive La Cotillard!

UK release 22 August

The Rover. Fear And Loathing In The Outback.

Posted on August 12, 2014 by The Sloth

the-rover-poster Success and youth must be a tough combo. Your life goes one of two ways – straight to rehab á la Lohan, or straight to the dole queue accompanied by ‘What Are They Doing Now?’ TV rundowns. But, founded by the naked gay sex efforts of Daniel Radcliffe in Kill Your Darlings, it seems there is now a Third Way, as followed by latest disciple R-Patz in The Rover.

It’s the Australian outback sometime in the near dystopian future. Something has happened to society. We don’t know what, but it was bad. Order has collapsed, lawlessness reigns and it’s ever grumpy, unwashed outback man for himself. Henry (Scoot McNairy) and a few assorted cohorts are gunwielding hoodlums cruising through the desert. Chancing upon a diner, they steal the car belonging to Eric (Guy Pearce) who’s inside have a spot of lunch. Eric is inordinately angry about this. So angry he throws what appears to be all reason out the window, procures a truck and steams after them in hot pursuit.

On catching them up there is a stand off, shots are fired and in the melee Eric captures Henry’s younger brother Rey (Robert Pattinson). Rambling and dishevelled, it soon seems the shuffling, twitching Rey is not quite all there. But that’s OK because Eric decides Rey is his best ticket to getting his car back, so the chase continues.

Brooding and atmospheric to the point of oppression, The Rover is deliberately opaque, keeping us guessing as to the motives and backstories of its aggressive, haunted characters. Switching between the vast, empty dustbowl of the outback to gloomy, dark interiors, it captures the dystopian bleakness perhaps a little too well, not least through Guy Pearce’s chilling performance as Eric. But it was R-Patz’s vunerable, physical portrayal of Rey that stood out for The Sloth. Seems one more acting fledging has successfully flown the nest and hurrah for that.

UK release 15 August. Something else on the dark side? Frank is dark and funny.

Lilting. Love’s Labour’s Lost In Translation.

Posted on August 2, 2014 by The Sloth

LILTING POSTER Now that The Cumberbatch is bigger than God, the world is in need of a New Favourite Actor. May The Sloth suggest the superb Ben Whishaw fill these boots? From nekked and mute in Perfume: The Story Of A Murderer, to working Q’s speccy glasses in Skyfall, he is always sublime, which happily continues in Lilting.

Richard (Ben Whishaw) is mourning the recent death of his partner Kai (Andrew Leung). Happy and in love, the only thorn in their relationship was Kai’s unwilllingness to come out to his mother, Junn (Pei-Pei Cheng), who had a suspicious, jealous dislike of Richard. Of Vietnamese descent, Junn lives alone in sheltered accomodation for the elderly, unable to properly interact with the other residents as she speaks no English.

With Kai’s death now truly isolating her, Junn is sinking into a lonely depression. Her only companion is Alan (Peter Bowles), an aging ladies man and fellow resident who has taken a shine to her, sending her flowers and attempting to romance her, despite being unable to converse. But Richard has a plan. Realising Junn is his last link to Kai, Richard enlists the help of translator Vann (Naomi Christie), so he and Alan can reach out to her.

But it turns out their new ability to communicate generates more problems than it solves. Junn’s suspicions and defensiveness rise to the surface, compounding Richard’s desperation at losing his partner, whilst Alan realises the demure Asian beauty of his imagination is perhaps not so docile.

This is a beautifully touching film that raises questions about pride, jealousy and the pecking order of relationships. Yes, the device of using translator Venn may at times seem contrived, but it cleverly highlights how we filter what is said and what is left unsaid. Quiet, understated and emotional, it relies solely on the strength of the actors who deliver marvellously. If you’re after something thoughtful and original, give it a whirl.

UK release 8 August

Mr Morgan’s Last Love. Lost In (French) Translation.

Posted on July 3, 2014 by The Sloth

Mr._Morgan's_Last_Love_Poster It’s a shame that the name Michael Caine can hardly be mentioned without eliciting Italian Job / Mockerney impersonations from all and sundry. For when the urge takes him, he really is a terrific actor, which we were reminded of when watching Mr Morgan’s Last Love.

Retired widower Matthew Morgan (Michael Caine) is an American Professor of Philosophy. A widower, he lives alone in Paris and is struggling to come to terms with life since his wife’s death. Introverted and depressed to the point of suicidal, he lacks friends and even basic French, still limited after several years in France to ordering his favourite sandwich by pointing and talking loudly, to the marvellously Gallic disgust of the shop assistants.

Chancing upon a dance class one day Matthew sneaks in to watch, reminded of how he and his wife used to love to dance. Catching the eye of the class teacher Pauline (Clémence Poésy), to his horror she invites him to join in, starting an unlikely friendship. Both lonely and drawn to each other, they develop a surrogate father / daughter relationship, to the consternation of Matthew’s brattish real children Karen (Gillian Andersen) and Miles (Justin Kirk). But how far can this new relationship go to fill the loss in Matthew’s life?

We’ve seen tales of young women/older men bonding before, so what can this bring that’s new to the party? Melancholic, slow paced and wistful, it could be downright depressing but it’s saved by wonderful performances from both Michael Caine and Clémence Poésy. Not much happens, but that’s not really the point. This is a film first and foremost about the difficulties of getting older, which is not always a rosy prospect. If you’re in the right frame of mind it’s emotional, thoughtful and often quite moving.

UK release 11 July.

Belle. Bodices With Brains.

Posted on June 11, 2014 by The Sloth

Belle_poster Corsets come with baggage. Romance. Coquettish glances. Girlish giggles under the pergola. Maybe some Jane Austen irony if you’re lucky. They don’t often come with a substantial slug of social history. Belle isn’t your typical bodice ripper.

Based on a true story, Belle traces the life of Dido Elizabeth Belle (Gugu Mbatha-Raw ). The illigitmate daughter of a black slave mother and white Navy Captain father, she was given to her father’s aristocratic family, inhabitants of Kenwood House no less, to raise as one of their own. However not all the family, or their social peers, were keen. In a racially prejudiced society, the idea of black and white eating at the same dining table was unthinkable. Yet ironically, Dido’s father left her a considerable fortune, unlike her white, well bred yet penniless cousin and best friend Elizabeth (Sarah Gadon).

Belle explores a society where three things matter – class, race and money. Is it better to be a penniless white woman or a rich black one? Better to be a poor male in search of a rich wife or a poor woman in search of a rich husband? And whether there was anyone actually nice in the 18^th century British upper classes? As if that wasn’t enough, it also shoehorns in the story of the Zong slave ship trial, presided over by Dido’s very own Great Uncle, the most senior judge in England (Tom Wilkinson), which saw the ship’s crew accused of deliberately murdering their human slave cargo for insurance money.

Phew.

Now of course this is a costume drama so yes, we do have the obligatory soupy music, giddy young ladies whirling arm-in-arm across manicured lawns and passionate suitors proclaiming ‘Yes, I love her! I love her with every breath I breathe!’. But really this is all window dressing on top of a properly interesting, well acted and often eye-opening slice of history. More than meets the eye(let).

UK release 13 June.

Venus In Fur

Posted on May 29, 2014 by The Sloth

venus Ah, the Battle of the Sexes. The ongoing war that has proved muse to directors and actors since celluloid began. Venus In Fur reduces it to a bare minimum – one man v. one woman, gloves off. Best take cover…

It’s Paris and director Thomas (Mathieu Amalric) is alone in an empty theatre, frustrated at a fruitless day auditioning unsuitable actresses for the lead in his upcoming play, an adaptation of Leopold von Sacher-Masoch’s novel Venus In Fur. And yes, that is Sacher-Masoch as in S & M. Busy in a misogonistic phone rant to an unfortunate colleague about the pitifulness of the actresses, Thomas barely notices Vanda (Emmanuelle Seigner) enter the theatre. Rain drenched and bedraggled, she is poured into stockings, suspenders, smudged eyeliner and a dog collar, with an accent best described as French Chav.

Vanda, only several hours late, is here to audition for the lead – a character confusingly also called Vanda. Understandably, Thomas has other ideas, but it soon emerges Vanda is no pushover. Browbeaten into letting her read with him, to Thomas’ shock she’s sensational – word perfect and instantly transformed into a 19^th century aristocrat. But it soon emerges Vanda has a bigger agenda. Questioning the morals of a play Thomas calls a love story, she dismisss it as S&M porn and an insult to women. And so the stage is set (boom boom!) for a game of intellectual cat and mouse, blurring the boundaries of reality and fiction till it’s not clear where the real Vanda and Thomas start and the characters they are playing end.

Based on a stage play and keeping the same format, this is a true actor’s piece. And they rise marvellously to the challenge. Witty, provocative and sharp, it explores ideas of masculine and feminine power while slowly turning the (sado-masochistic) tables on the hapless Thomas. And yes, restraining implements are involved.

UK release 30 May