Film Review: Breathe

Breathe is a by-the-numbers period drama which offers few surprises. Andy Serkis directs well, but the film feels rather generic.

When Robin and Diana fall in love, Diana follows him and his job to Kenya. When Robin contracts polio, he thinks his life is over. The couple and their friends must find a way forward that gives Robin a chance to live normally…

Breathe is obviously a personal film; it tells the story of the parents of Serkis’ producing partner Jonathan Cavendish. It is a story which isn’t well known, but is important in the history of accessibility for the disabled. So it certainly is a worthy story to tell. The advances made by Robin and the people who worked with him undoubtedly have helped progress options and freedom for those with severe mobility issues.

Whether this worthiness translates into a compelling film is another matter. Breathe does not stagnate at any point, the narrative progression feels steady and expected. Serkis often uses close ups to convey intimacy with the characters and between Robin and Diana particularly. The score suits the setting and style of the film. Locations are beautifully shot by Serkis and cinematographer Robert Richardson. Andrew Garfield delivers a convincing performance as Robin. He is becoming quite the reliable actor in delivering strong, believable portrayals. Claire Foy and Stephen Mangan are also good.

The biggest detraction from the film is that it follows a well-worn template. The British period biopic has been successful in recent years, with The King’s Speech and The Theory of Everything, and perhaps Breathe hopes to emulate this. The result, however, is that there is nothing in the film that isn’t predictable. The tropes of this genre are all here, including the brand of humour, the triumph in adversity narrative, and even the plummy accents.

There is a disappointment in an actor and filmmaker as inventive as Serkis delivering such a safe film for his directorial debut. Breathe itself will no doubt satisfy fans of this brand of gentle British period drama.

Breathe is opening the BFI London Film Festival on 4th October 2017.

Previews: Okja Trailer, The Mummy, More!

Plenty in this week’s preview of coming attractions, including the Okja trailer, The Mummy, War for the Planet of the Apes, and more…

Okja Trailer

Here is the latest Okja trailer. Bong Joon Ho’s film is having its world premiere at the Cannes Film Festival. Okja is about a girl who must stop a corporation from capturing her gentle friend. The film stars Tilda Swinton, Jake Gyllenhaal, and Paul Dano. Okja launches globally on Netflix on 28th June 2017.

The Mummy Featurette

This featurette on The Mummy reveals a bit more about the characters and the world of the film. The film is intended to be the first in a series of a franchise rebooting the Universal Monsters. Russell Crowe plays Dr Jekyll (the Robert Louis Stevenson creation), with Sofia Boutella starring as the title character. With a cast headed by Tom Cruise, The Mummy hits UK screens on 9th June 2017.

War for the Planet of the Apes Trailer

Here is the latest trailer for War for the Planet of the Apes. The film completes a trilogy that began with Rise of the Planet of the Apes. The series acts as a prequel to the 1968 classic Planet of the Apes. Starring Andy Serkis, Woody Harrelson, and Steve Zahn, War for the Planet of the Apes is out in UK cinemas on 14th July 2017.

Baby Driver Poster

This poster for Baby Driver gives an idea for the tone of the film. Directed by Edgar Wright, the film is about a young getaway driver who hopes to ditch his criminal life. The cast includes Ansel Elgort, Kevin Spacey, and Lily James. Baby Driver is released in UK cinemas on 28th June 2017.

The Hitman’s Bodyguard Trailer

Here’s hoping the film is as hilarious as the premise. Ryan Reynolds stars as the bodyguard attempting to protect Samuel L. Jackson’s hitman in action comedy The Hitman’s Bodyguard. With two likeable leads in an odd couple pairing, the film could be a winner. The Hitman’s Bodyguard is out in UK cinemas on 18th August 2017.

Wonder Woman TV Spot

Here is one of the new TV spots for the upcoming Wonder Woman. The first live-action film based on one of the most famous comic book characters, the film has been a long time coming. Directed by Patty Jenkins, and starring Gal Gadot, Chris Pine, and Robin Wright, Wonder Woman launches onto UK screens on 1st June 2017.

IT Clip

Hopefully this adaptation of Stephen King’s IT lives up to the novel’s reputation. A group of kids (the ‘Losers Club’) must face their biggest fears when children start going missing in the town of Derry. Starring Bill Skarsgård as Pennywise, IT is set for release on 8th September 2017.

Andy Serkis at Jameson Cult Film Club

Last Wednesday, Jameson Cult Film Club returned to London with a screening of Jaws at Greenwich Yacht Club. Prior to the screening, we were able to speak to Jameson Cult Film Club Curator Andy Serkis about the Club, Jaws, and directing…

What does your role as Curator of Jameson Cult Film Club entail?

I basically had input into choosing some of the films that are going to be screened. Just to introduce them, and be part of the event.

What is it about Jaws that you like so much?

I think it is one of the most complete films ever made really. In terms of writing, in terms of the tension, in terms of individual performances, in terms of the camera work. It’s just brilliant storytelling, it’s absolutely, totally immersive. The way it was shot was revolutionary, the use of animatronics was revolutionary. For all of those reasons it really moved filmmaking on.

If you were going to make Jaws now, would you use animatronics or motion capture?

What I love about Jaws is the fact that it still holds up today. Even though you know it’s an animatronic shark, your mind is tricked in such a way that you’re still terrified of it. If I was to shoot it now, it would probably be a combination. I would still want some real physicality of an animatronic puppet. It would probably be CG-enhanced, but I would probably use the basis of that still. The human brain, the way it is tricked in modern-day filmmaking, sometimes it can be flattened out. What is interesting is where you are just not sure what is real and what isn’t.

You are getting into directing, can you tell us a bit about that?

I have just come back from directing the second unit on The Hobbit, directing is an arena I have been getting into for some time. I have a company called The Imaginarium, which is a performance capture studio. It does live action films as well as visual effects and performance capture for films. Over the course of the next year, I am going to be directing two projects which will be announced quite shortly.

Find out more about Jameson Cult Film Club here.

Film Review: The Adventures of Tintin: The Secret of the Unicorn

Steven Spielberg’s The Adventures of Tintin: The Secret of the Unicorn is a fantastic adventure film that ticks all the boxes. It is superbly crafted and will entertain audiences of all ages.

Reporter Tintin and his canine companion Snowy are well known for solving mysteries and breaking big stories. When a model boat catches Tintin’s eye at the market, he decides he must have it. Tintin is warned against keeping it by a mysterious stranger. It is later stolen from Tintin’s home, but not before a clue is left in the young reporter’s possession…

The Adventures of Tintin is an adventure film of the highest order. Spielberg’s film combines everything you would want from an adventure: mystery, action, suspense, comedy and exotic locales. In this way it recalls some of Spielberg’s earlier work, such as the Indiana Jones films. There is also a very amusing nod to Jaws.

Spielberg directs the film deftly. The chase scene in Morocco in particular is spectacular, with the panning shots and overall fluid movement. There are some wonderful edits between scenes, with one scene seamlessly enveloping the previous one.

The screenplay by Edgar Wright, Joe Cornish and Steven Moffat is great. Good deal of humour, which should appeal to both adults and children. The chemistry between Tintin and Haddock is most believable, and Thompson and Thompson do a good job of providing the comic relief. Jamie Bell and Andy Serkis do a great job of bringing Tintin and Captain Haddock to life, respectively. Smowy the dog also plays a pivotal role in proceedings. It is nice to see he is always given something to do while the focus is on Tintin; sniffing round the camel while his master speaks to someone, for example.

The animation is superb in The Adventures of Tintin. Unlike some of the other films that have used motion capture, there is a warmth to the characters. The detail is excellent; the strands of Tintin’s hair are incredibly lifelike. The film should give other filmmakers using this technology something to aim for. 3D also works very well in Tintin. It is a film with paying the uplift for to see in 3d on the big screen.

Fans of the books should be satisfied with this adaptation. It references it source material with a few nods, including the cute portrait scene at the beginning. Moreover, this film should bring new fans into the fold as previous knowledge of the stories is not required. From the great opening credits scene to the very last moments, The Adventures of Tintin: The Secret of the Unicorn is immensely entertaining. Highly recommended viewing.

Film Review: Love Is the Devil

John Maybury’s Love Is the Devil: Study for a Portrait of Francis Bacon is an incredibly atmospheric film. Although it has its flaws, Love Is the Devil is memorable for the impression it leaves on viewers.

In the 1960s, renowned artist Francis Bacon catches a burglar in his studio. Rather than call the police, Francis asks the man to come to bed with him. This is the start of  a tumultuous love affair between the painter and George Dyer, one that influences Bacon’s work and has a profound affect on Dyer’s mental state…

Love Is the Devil is not a traditional biopic. The film concentrates on a brief period in Bacon’s life, focusing on his relationship with George Dyer. His painting during this period is merely referenced or remarked upon rather than explored in any detail. The film is not about Francis Bacon the artist; it isn’t even about Francis Bacon the man. Instead, it offers a snapshot into the protagonist’s life in this period.

Despite some abstract sequences, Love Is the Devil follows a fairly linear path. Nevertheless, it does not have the same feel as a traditional film. Unlike a conventional biopic, Maybury’s film avoids details and facts about the protagonist’s life and work. It concentrates on emotions, depicting the unruly nature of Francis and George’s relationship. The film almost works like a set of impulses, rather than a coherent strand.

The style and tone of the film are very effective in creating a sense of unease. Segments in the film are disjointed, and overall it is not a comfortable watch. Love Is the Devil seems to have been designed to induce a ambivalent or negative reaction from viewers. The sound in the film is incredibly high-pitched in certain scenes, to the point of discomfort.

Similarly, the whole of the film has a grimy appearance. Bacon’s studio is messy and is often shot in shadowy lighting. The more abstract sequences feature a strong use of colour. Scenes in the various bars and pubs frequently appear distorted. Perhaps this is symbolic of the film itself.

Derek Jacobi is very convincing as Francis Bacon. He offers a commanding performance throughout the film. Daniel Craig is also absorbing as the fragile George, a departure from some of his later roles. Tilda Swinton is gloriously over the top as Muriel.

Love Is the Devil is an interesting watch, but not a particularly comfortable one. Those looking for an alternative to the traditional biopic should seek it out.

Love Is the Devil was shown at the British Film Institute as part of the Screen Epiphanies season. It was introduced by Andy Serkis.

Film Review: Burke and Hare

John Landis’ first feature film for over ten years, Burke and Hare is perfect for those who want a touch of the macabre this Halloween without the frights. It is an interesting tale, but as a black comedy it is not as funny as it should be.

Burke and Hare are two Irishmen struggling to make a living in nineteenth-century Edinburgh. When they need to get rid of the dead body of a lodger, the pair stumbles into a lucrative business providing cadavers for one of Edinburgh’s most prestigious medical schools…

Based on the true story, albeit with a healthy supply of embellishment, Burke and Hare offers a humorous and sympathetic portrayal of the grave robbers. Rather than depict the pair as cold-blooded murders, screenwriters Nick Moorcroft and Piers Answorth instead paint them as opportunists, capitalising on a macabre demand. It is difficult to see how the film would work otherwise, given the tone.

Burke and Hare exudes an air of camp reminiscent of the later Hammer horror films. This is assisted greatly by the supporting a cast, which includes Christopher Lee. Tim Curry is wonderfully camp as Dr Monroe, one of the movie’s villains. Elsewhere, Ronnie Corbett, Tom Wilkinson and Hugh Bonneville play as if they are very much in on the joke. The result is a film that does not take itself too seriously; an attitude that works very well.

Given that Burke and Hare‘s narrative centres on corpses, the presence of gore is unsurprising. However, there is not an excess, and any such depictions are not overly realistic. The film has a limited palette of dark and drab colours, so blood does stand out. It is so bright, nevertheless, that it appears fake rather than shocking. This appears to be the aim of the filmmakers, given that Burke and Hare is a black comedy.

Simon Pegg as Burke and Andy Serkis as Hare are great as the bumbling duo. It is just a shame that they were not given better lines by the screenwriters. Isla Fisher is bubbly as Burke’s love interest Ginny, although her accent is patchy. Jessica Hynes is solid as the sometimes alcoholic Lucky, delivering a number of laughs with her physical comedy.

Not the first film based on the story of the grave-robbing duo, Burke and Hare takes a light-hearted approach to quite a sombre topic. It is just a shame that laughs were not more frequent.