LAGGIES

29 year old Megan is never going to grow up. Although armed with a degree in Counselling she only works the odd day twirling an advertising board in the street for her over-indulgent accountant father. She lives with her soppy dull-as-dishwater high school boyfriend and has the same tight circle of friends she's had for years.  Now that her best friend is about to get married and another give birth to her first child, Megan looks on them and their way of life with such disdain, that you soon realise the only reason they are still in her life because she is too lazy to move on.

The wedding is the turning point, as when her boyfriend finally plucks up the nerve to propose, Megan runs. Strangely enough into a group of teenagers outside of a grocery store who are looking for an adult to purchase alcohol for them, and Megan strikes up a very age-inappropriate friendship with Annika their 'leader'.  To escape from home for a while, Megan pretends to go to a Personality Building Retreat that her boyfriend has nagged her about for years, but in fact she hides out in school-girl Annika's room hoping not to be found out.

She does get discovered by Craig, Annika's dad who has been disconsolate and drunk since his wife walked out on him and he wreaks some sort of revenge on women in general in his day job as a divorce attorney. From this moment on, its more than obvious how the plot of this somewhat likable but very predictable lightweight romantic comedy will end with yet another inappropiate and unlikely relationship.

The basic premise had been that self-centred Megan was trying to avoid her maturity essentially as she was trapped in a life that she felt she didn't belong, but sadly instead of escaping and gaining independence she simply swapped her life with the dithering boyfriend for one with her new best friend's father.

Directed by Lynn Shelton (who wrote and directed the wonderful 'Your Sisters Sister' and the equally appalling 'Touchy Feely') this movie from a script by newbie Andrea Siegal just failed to make us sympathise in anyway with Megan's plight which was the central plank of the piece.  Megan was played with great ease by the gangly Keira Knightly who looked more like a teenage boy in her sleepovers with Annika, but the real joy was in the supporting performances. Sam Rockwell was determined to have fun with the far-from-perfect script as Annika's sardonic very likable father: young Chloe Grace Moretz was spot on as Annika; and Gretchen Moll radiated the screen with her tiny cameo of Annika's estranged mother.

★★★★★★

STARRED UP

Violent prison dramas with raw angry men desperately displaying their machismo just to survive the regime of brutality that pervades in jails always have an underlying tone of homo-eroticism in them. 'Starred Up' with a brilliant career-making performance from 23 year old Jack O'Connell is one such movie especially as it has the near-obligatory shower scene that ends in a naked fight. 

O'Connell plays troublesome teenager Eric Love who has been moved from a juvenile detention facility as they cannot handle him any more.  Unlike the other inmates banged up in this adult jail, he doesn't want to get out, as the reason he has forced the authorities to send him to an adult prison, is that his father, who he barely knows, has been serving time there for the past 14 years. 

The back-story as to how these two ended up being incarcerated is vague to say the least but it's not that important as its the attempt at reconciliation between father and son that is the focus of the story. He may only be 19, but Eric is a hardened criminal who knows how to work the system, which only serves to enrage the corrupt prison guards who are determined that they will not be beaten by this youth, even if it means actually having him killed. Their undisguised anger is matched by the determination of a do-gooder volunteer social worker who is insistent that he can cure Eric, and maybe even his father, by some simplistic anger-management.

The story gets a tad confusing on occasion when the men's shouting matches become incoherent, but one doesn't need subtitles to get the gist of the violent action most of the time.  This is essentially Eric's story and of the way that he has deliberately chosen to develop into manhood.  We are never sure either because of the script, or O'Connell's mesmerizing performance, if the boy actually loves his father or really wants him dead.

Directed by David McKenzie ('Young Adam', 'Hallam Foe') from a script by Jonathan Asser based on his own experiences as a prison social work.  Even with strong supporting performances from Ben Mendelsohn as the father and Rupert Friend as the social worker, this film, one of the very best prison dramas for a long time, completely belongs to Eric, thanks to O'Connell's portrayal.  We are bound to see a lot more of this actor as he destined for stardom.

P.S. Starred Up is a term used in the UK to describe the early transfer of a criminal from a Young Offender Institution to an adult prison.

★★★★★★★★

PULP : A FILM ABOUT LIFE, DEATH AND SUPERMARKETS

Gangly geek Jarvis Cocker is the most unlikely looking rock-star ever, but seeing the front man of the British indie-pop group PULP ignite frenzied crowds of a packed stadium, you realize that he is in fact one of the very best. His quintessentially English band enjoyed enormous critical and commercial success in the late 1990's before calling it a day at the height of their fame in 2002. Cocker then went on to establish a new career as a solo artist and combined this with a weekly radio show and some filmmaking too.

Much to their many fans delight the band reformed in 2011/2012 for one more major tour of the US and the UK. The final performance was in their hometown of Sheffield, a blue-collar industrial town in the North of the UK where they have long been regarded as local heroes.  This mutual love affair was clearly evident with Cocker and all the band members relishing with pride at being considered as such a major part of their community's culture, as equally was the gushing praise from their diehard fans.

This documentary from German-born New Zealander Florian Habicht which he made with Cocker, is an affectionate look at both this last Concert and the city and its people who are such an integral part of the Pulp phenomenon. Habicht infuses the concert footage with some quirky talking-head pieces from some colorful and eccentric locals and even includes a middle-aged ladies choir belting out Pulp's most famous hit 'Uncommon People' which is considered an anthem in this area. Cocker himself comes over as an extremely likable funny man which is somewhat of a surprise given the rather dark lyrics of the songs that he pens and performs. In fact his acute observations of everyday life, and also those of sexual frustration, account for a great deal of the band's popularity.

This joyous wee tribute to this disarmingly charming man will totally delight not just his fans but also anyone who has any passion for Brit indie-rock. Although why Habicht insisting in calling it 'A Film about Life, Death and Supermarkets' is beyond me.

★★★★★★★★

TRUST ME

I did 'trust' actor turned writer/director Clark Gregg that after watching the trailer that this, his sophomore feature, was a comedy.  Far from it, even though it has some comic moments this dark story of a Hollywood Agent whose career is sinking below rock bottom, is quite a depressing affair.  Gregg stars as Howard Holloway who represents some un-appealing child actors and as a consequence has to deal with obnoxious pushy mothers and also hard-nosed power-hungry Casting Agents.  When Howard loses his last Client he has one stroke of good luck meeting Lydia an extremely talented and precocious teenager who is about to possibly hit the big time.

Lydia persuades Howard to act as her Agent on the eve of a mega-deal that could make her a major star as she knows that her possessive blue-collar alcoholic father is out of his depth negotiating at this level. Circling the situation is Howard's arch rival Aldo an unscrupulous Agent who takes an obscene delight in both stealing clients and plotting Howard's downfall.

The concept of Howard being given this one last chance to redeem himself is very plausible and quite compelling but then suddenly the story line does some very unexplainable twists that are hard to swallow and turn the mood from entertaining to just downright confusing very quickly.  The redeeming feature of this drama that one wants to like, is in the acting. Gregg assembled a wonderful array of talent in supporting roles who still managed to shine through even given their less-than-perfect material. Allison Janney and Felicity Huffman were superb as the Casting Agents who would stop at nothing to seal the deal on their terms, Sam Rockwell was great as slimy Aldo, Molly Shannon on our screens far too briefly as a pushy mother, Amanda Peet as Howard's neighbor and unlikely love-interest, and in a blink-and-you'll-miss-it appearance, William H Macy played her boss.  

Young Saxon Sharbino who played the precocious Lydia was scarily wonderful and an extremely talented actress .... let's hope she has such a good Agent like Howard in real life too.

Mr Gregg is indisputabely a very talented and likable man and I simply loved his 2008 debut behind the camera with 'Choke' the totally bizarre comedy about a sex-addicted con-man pays for his mother's hospital bills by playing on the sympathies of those who rescue him from choking to death. This new movie is not one of his career highlights but I will still look forward with whatever he follows it with.

★★★★★★

THE OUTRAGEOUS SOPHIE TUCKER

The late great Sophie Tucker was one the World's most popular and successful entertainers for the first half of the 20 Century.  This very early superstar with her wonderful range of comic and risque songs was one of the first women in show business who pioneered the way grabbing top billing in Vaudeville Theater, on the Radio, in early Talking Movies and later on Television. She was literally larger than life defying the norm of other females treading the boards as when she started out as she was in her words 'fat, ugly, too old' and a married Jewish lady to boot. However, in her career spanning some five decades she revelled in her differences, especially her size, and made it an integral part of her act.

Born in Connecticut in 1887 to Orthodox Jewish parents who had escaped persecution in Ukraine, she eloped with the first boy who was nice to her when she was just 16 years old.  Her parents eventually acknowledged her husband Bert Tuck a local beer cart driver who gave her half her name (!) and their son Albert. The marriage lasted just five years, which coincidentally so did her next two marriages later in life, although she never had any more children. Leaving Albert in the care of her sister, she left for the bright lights of New York to start her career.

Sophie started singing for cents and dimes in Saloon Bars but within 2 years she got her first big break on Broadway in Ziegfeld Follies. Not the headliner yet, but it did lead to her recording one of her biggest hits 'Some Of These Days' and her career really took off. By the 1920's her fame had spread to Europe and her tour of England started with performing for the King and Queen. In 1921 she met Ted Shapiro who became her accompanist and 'straight man' in her act and they performed together right up to her death 45 years later.

Sophie did an annual sell-out season at Lou Walter's infamous Latin Quarter Club in Miami Beach for years, as well as headlining in his New York Nightclub, something that his daughter Barbara testified too. She was, as celebrities of the day lined up to joyously affirm, bigger in that period than the Elvis's and the Madonna's of the future would ever become.  What comes shining through all the archival footage in this new documentary was that her popularity was just as big away from the footlights. Stories like those of her forcing people to buy her autobiography after the show if fans wanted an autograph and refusing to make change even if a $50 bill is proffer claiming 'it all goes to help Israel' are hysterically funny. She just loved people as is evident with all the hundreds of scrapbooks that she accumulated over the years having her photograph taken with total strangers who instantly became her new best friends.  She may have made swift work quickly dispatching the men in her life, but as the movie mentions (although never really explores) Sophie always had a lady in her life who was evidently so much more than just a 'companion'. 

Sophie Tucker was a true epitome of camp in every sense of the word, and not just because her second movie was called 'Big Gay Love' (sic) but because her flamboyant and often ridiculous costumes were much more about getting noticed than attempting to flatter her matronly figure. A mentor to the likes of young Judy Garland, a best friend to stars like Frank Sinatra, and even at the end of her career she was adored by the new boys on the block in the 60's i.e. The Beatles, and she truly earned the title 'The Last of The Red Hot Mamas'.

Sadly this fawning tribute by first-time producers husband and wife Lloyd & Susan Ecker is not what Ms Tucker's legacy deserves. This couple who never met the star but are somehow self-appointed guardians of this iconic performer's history, personally take up too much screen time with their own take on the story rather than let the wealth of extraordinary celebrities and stars who actually knew her share more of their interesting anecdotes and memories. Lloyd Ecker's excruciatingly embarrassing tearful description of Ms Tucker's death is, like the most of his contributions, annoying to say the very least.

Despite the Eckers, its hard not to be enamoured by this uniquely wonderful performer and see why she held audiences in the palms of her hands for over 50 years.  There is a great story in there waiting to be told well, as this rather wasted opportunity is not it.

★★★★★

THE FAULT IN OUR STARS

16 year old Hazel Graze is permanently attached to an oxygen tank that now keeps her alive after her most recent bouts of cancer. If knowing that her days on earth are severely limited isn't bad enough, she has to cope with her well-meaning parents and their enforced sunny dispositions to just get through each day. It's no wonder that this sweet teenager is so depressed as she is dragged from counsellor to group therapy because the adults in her life tell her this is what she needs.

It isn't of course, but as stoic and brave as she is, Hazel is not sure that anything beyond her favorite post modern novel (about cancer), will ever remotely make her happy.  That is until one day in the Youth Cancer Group she meets Augustus. A clever tall and handsome 18 year old whose potential career as a baseball player was cut short when cancer took his right leg.  He's a carefree optimistic soul with a very quick acerbic wit who takes an instant shine to Hazel and pursues with an energy and enthusiasm that totally throws her.

He takes her out on a few very chaste dates, reads the novel that she is addicted too, and starts courting her with long late night phone conversations and they gradually morph into couple in love.  A few weeks into this budding relationship Augustus springs a surprise. He's fixed it with the 'Make a Wish Foundation' for the two of them to take a trip to Amsterdam where Hazel can meet Van Houten the author of the book she will not put down. The illusive writer never produced the sequel he promised and Hazel has always been desperate to know what happened next in this unfinished story.

Meanwhile before she can go she has another close call with death when she suddenly gets very sick again. It turns out that she will recover to fight another day only to realise that Augustus's cancer has reappeared and this time there is going to be nothing to stop it being terminal, and soon.

If that is not enough grief, Van Houten is a major disappointment and breaks her heart too, and just to insure that we use up at least two boxes of Kleenex watching this high-octane tearjerker, when the young couple are in Amsterdam they visit the Anne Franck house, giving us another reason to sob out loud.

However what makes this melodrama work and keep our sympathy remaining high throughout is a beautifully understated and mature performance by Shailene Woodley who so carefully avoids any temptation to milk the part and make Hazel a tragic figure. She imbues her with such a  serenity and a dignity, makes her warm and funny and never once makes this poor dying teenager a pathetic figure. She is a sheer joy to watch.  Ansel Elgot has a slightly easy task as Augustus and he does it exceedingly well demonstrating such great chemistry with his co-star.

Based on the best selling novel by John Green who used his past experiences as chaplain in a children's hospital for the groundwork of his story.  Adapted for the screen by Scott Neustadter & Michael H. Weber, who previously wrote 'The Spectacular Now' together, and it is director Josh Boone's sophomore feature.

Highly reccomended. 

★★★★★★★★

GONE GIRL

When the movie opens on a quiet July morning in a small Missouri town there is no visible indication we are looking at a man who has falling on hard times. It turns out that Nick Frost has been been virtually unemployed since being laid off from his job on a magazine in NY and is now penniless.  He and his wife live in a large ugly suburban house that they lease using the remains of her depleted trust fund, and this morning on his 5th wedding anniversary he is feeling sorry for himself and sipping a shot of Bourbon in the small empty bar he owns with his sister.  As he sounds off about the stale state of his marriage the telephone rings. Its his neighbour telling him that the front door of his house is wide open.

That's not the only thing he discovers when goes back home, as the house is totally deserted and furniture is turned over and broken as if there has been a struggle of sorts.  When the Police check it out they find signs of blood and enough clues to be concerned for Amy's safety and decide to mount a Press Conference the next day to appeal for help. Nick is joined for this by Amy's psychiatrist parents who are famous authors having once made a fortune on a series of books called Amazing Amy that ruthless exploited their daughter's childhood.

Initially there is an overwhelming abundance of sympathy and support for Nick from both the police and local community but as Detective Rhonda Boney keeps uncovering further clues that indicate that Nick may be responsible for his wife's disappearance, the mood rapidly changes.  Egged on by local TV pundits who have already declared that Nick is guilty of killing his wife, everybody turns against him.  When his young mistress goes public about their affair it seems like now that a motive has been establish, they can be no further doubt about his guilt.

Things are far from what they seem in this latest movie from the master of suspense director David Fincher who excels at complicated thrillers such as this.  By using a series of flashbacks he has shown that this once fairytale romance is now on the rocks, but even so it's impossible to comprehend the depths that Amy will go to resolve it in a manner that will try and exact such diabolical revenge on her unfaithful husband.

It is one of those movies that is best enjoyed knowing little beyond these bare bones of the plot, because what follows is so astonishing it will certainly stupefy you. Just when you think you have it all worked out, the story will twist another 360 degrees to confound you yet once again.  It is however unquestionably one of the BEST movies of 2014.

Ben Affleck is superb as put-upon Nick who you may dislike for wanting his own way, but even he doesn't deserve the punishment Amy wants to exact on him. The movie however belongs to the British actress Rosamund Pike who, in an Oscar worthy performance, is nothing less than outstanding as Amy.  It's a amazing revelation to see her being so brilliantly devious, manipulative, demented and stunningly seductive when she wants her own way. She is such a sheer joy to watch (apart from all the bloody bits naturally).

Lest I should forget, there are also some great supporting turns that deserve mention too.  Kim Dickens (TV's Sons of Anarchy) as the Detective, Carrie Coon (TV's The Leftovers) as Nick's sister Margo, Neil Patrick Harris as Amy's stalker boyfriend, and Tyler Perry for once playing it straight as a Nick's hot shot lawyer. 

The script, the first ever written by Gillian Flynn, and adapted from her own novel gave Fincher a great canvass to work with, but it is his superb attention to the most minute detail that make it such the spectacular roller-coaster ride that it is.

★★★★★★★★★★

THIS IS WHERE I LEAVE YOU

The 'leaving' in the title of this rather frenetic comedy refers to death and divorce and a few other departures in between.  Everybody in the Altman family has both issues and secrets and the set up for us (and them) to discover them all is when the patriarch dies and his widow (their mother) insists that they must all sit the traditional Jewish Shiva even though none of them have been inside a synagogue for decades.

Shiva means sitting there together for 7 days without exception or excuse and talking about life and death, and this family have a lot of it on their minds.  Four days prior Judd just discovered his wife in bed with his boss and had walked out on both his marriage and his job.  Judd's eldest brother Paul has been trying to get his wife Annie pregnant for sometime now and maybe firing blanks, so she looks for an alternative 'donor' in her ex-boyfriend, who just happens to be Judd.  The youngest brother Phillip who is still just a big kid at heart shows up with his older cougar girlfriend/future fiance who he met when she was his therapist.  The 4th sibling is Wendy, the mother of two, and whose workaholic husband has a cellphone attached to his ear p permanently whilst she is still carrying a torch over Hoory the man next door who was her childhood sweetheart and who she dumped after a serious car accident which left him with brain damaged.

The only one who seems prepared to talk openly and frankly is the mother who proudly flaunts her new breast implants and incessantly hawks the best-selling book that she wrote some years ago based on all her children's secrets. Naturally it turns out that she has a big secret too, but this, the most surprising one is not revealed until almost the end.

It's all a little too much with an over-abundance of cliched plot strands that are at best mildly amusing but in reality give the overall feeling of a ill-conceived TV situation-comedy that is too eager to please.  It's one big saving grace is the stunning array of talented actors that make up the cast and do the very best with the script that they have been served up. Jason Bateman as Judd stoically takes most of the heavy load as the main character, and his siblings are played by Adam Driver, Corey Stoll and the wonderful Tina Fey. Timothy Oliphant is the man next door, Dax Shepherd bares all as the cheating Boss, Kathryn Hann is the motherless sister in law, and Connie Britton as the put-upon cougar girlfriend.  Mother is played by the great (and elegant looking) Jane Fonda but there are moments when you are convinced that she has just phoned her performance in.

It's one of those movies you will be happy to watch on a wet Winter evening when there is nothing else that grabs you on the TV, as its really not bad.  It's just that it could/should have been so much better.

★★★★★