FILM REVIEW- Bunny And The Bull

Bunny and the Bull (15, 101 minutes)

Can it be as mighty as the Boosh?

Where?

The Lighthouse, Poole

Plot?

Stephen (Edward Hogg) lives by a strict, organized routine, and is afraid to leave his house. But when he starts looking through his possessions he thinks back to his eventful road trip with the rambunctious Bunny (Simon Faranaby).

Thoughts?

When watching an episode of cult BBC show the Mighty Boosh, you either watch two types of episode.

You are either whisked away to a surreal world rammed full of characters you could never begin to imagine, as well as being spoilt with an abundance of witty and quotable dialogue.

Or you are dragged through a misfiring sludge, full of characters that never hit their mark, and fumbling, misfiring dialogue.

This film debut from Boosh director Paul King, mixes a little bit of both, resulting in a film that is refreshingly different in tone, but also has a disappointing undercooked aftertaste.

So much has been discussed about the films visual style, but with good reason- it’s a constant barrage of hand crafted visual delightfulness.

There’s admirable low budget bravado in King’s use of confetti snow, cling film ice and crepe paper flames that really mark him out as a director to watch.

But as much as you’re won over by the films looks, the frequently slack writing contrives to pull the film down.

It’s hard to understand what some scenes are trying to achieve. It constantly flicks from simple laughs to meandering non-sequitirs that go nowhere. In the Boosh they worked to occasionally laugh out loud extremes- here they never get that far off the ground.

Frustratingly, the film does work on both an visual and script level, such as a scene involving Boosh star Julian Barratt as a dog loving tramp, which although not side-splitting, is an amusing side-step.

And there’s nothing fatally wrong with the acting on show either, which makes the flat dialogue even more depressing.

Hogg cuts a lovably pathetic misfit, and Farnaby manages to mix vulgarity and charm as the alcoholic Bunny, but both get little chance to develop their characters.

As a result you feel little emotional connection to them in the film’s final act, when you feel you should.

Treat this film like a foul sponge cake covered in a beautiful, glittering icing decoration- enjoy how it looks by all means, but scrape no further underneath- you’ll only be underwhelmed.

Verdict?

A shabbily written mess, saved to some degree by its wondrous lo-fi visuals. (2/5)

Haiku?

Wonderfully odd,

Looks like a hand made dream world,

Shame about the plot!

Go Further…

· King is rumoured to be directing the film adaptation of Paddington Bear. The background design for the betting shop scene in this shows he is the right man for the job- it has the same sketchy, ramshackle feel.

· Listen out for a voice cameo by Rich Fulcher, Boosh’s Bob Fossil, as Captain Crab near the beginning of the film.

·Hogg and Farnaby played Boosh’s Howard Moon and Vince Noir’s rivals in a series 3 episode of the show.

Second Opinion?

Little White Lies thought it a brilliant British gem…

http://www.littlewhitelies.co.uk/theatrical-reviews/bunny-and-the-bull/

Trailer?

http://www.youtube.com/watch?v=0L9VlgJitmA

LARGE NOSE MAN- Chapter 6

*What is this? A continuing story about a superhero I made up, Large Nose Man. I wrote much of this many years ago, so I have edited it to make (some) sense, although it’s just a bit of fun really. For previous tabs find them through the sections displayed to your right. One new chapter up every fortnight!*

Chapter 6

Alex and Webb, partners in impending doom, worked their ways to the brink of nuclear waste vat number one. Implanted into the floor, The Doctor slammed his glove fist on the control panel, forcing it to yawn open.

“I thought that would have been far, far more difficult,” mused The Doctor, as the green sludge bubbled up from the vat. A fleck landed on Kent’s shoe, and watched it sizzle into the top of his shoe. He felt a tingle, but nothing more. Further exposure to this stuff would reduced you to a sludgy puddle.

“A grim way to go to be sure, but at least it’s something interesting to put on you obituaries...because let’s face it, you guys were going nowhere…” said The Doctor. “It’s time Webb. In you go.”

Webb’s face dropped. Soon it would drop gain, but straight off his face, into nothingness. The vat stirred, and the small pops of the churning pot could be bearly heard over Webb’s heavy, delayed breaths.

Webb stared into the burning emerald abyss. The Doctor nodded solemnly to the henchman poised behind him. A strong hand pushed into his back. Webb tumbled in, feet first. His legs sizzled away like fleshy sparklers.

“Someone will make you pay for this…you watch…” burbled Webb, as he dissolved upwards, his face melting away. The Doctor smirked.

“And who’s going to do that? It’s not going to be you, is it?” The Doctor swung round to Kent, a mocking expression painted on his face.

But then, as quick as a flash, a squad of officers stormed into the room, guns raised.

“Police! Freeze you scumbags! Your mini reign of terror is over, Doctor” cried the head of the group, named Officer Dodah.

“I don’t think so! Die pigs! Perforate them boys!” Cried the Doctor. As they threw themselves behind the pillars beside the vat, lighting up the room as they did so.

Kent threw himself behind another pillar. He eyed up the fire escape. He could make it. But he had to be fast.

*

FILM REVIEW- Sherlock Holmes

Sherlock Holmes (12a, 128 minutes)

By Guest Reviewer, Sherlock Holmes himself…

This strange turn of events began when I was asked, unexpectedly, to come along to the Tivoli Theatre in Wimborne last Tuesday night. Instructions regarding this invitation came forth in the form of a letter.

“Come alone,” demanded the note. This inspired nothing but trepidation within me. No faithful Watson by my side? “It is to watch a dramatised versions of one of your exploits. Tivoli at 7.30.” There were no further elaborations or any mark indicating who had sent it forth.

I decided to venture out, as I could simply not turn down the request. I had not had work for several weeks and this could be the start of something big. Plus to turn down a celebrations of my escapades would be foolish indeed.

Once I arrived within the theatre, which was an unexpected bustle of noise and excitement, I kept a close eye to see if I was being watched. No-one seemed to be eyeing me with malicious intent so I pressed onwards to my seat.

The screen lit up and the adaptation began. The first thing which struck me was how impressively grungy and authentic the film looked. It sucked me into Victorian era London to the point of which I felt like I was there myself. Which I was at one point, but that is getting beside the point.

The part of myself was played by the American Robert Downey Jnr. This struck me as odd and unfitting at first, and was not helped by the sheer speed of which the man spoke, which on occasions made it hard to distinguish what he was uttering. Surely I too, am not guilty too of speaking at a speed so hard to understand?

I did eventually accept this shortcoming and became fond of the man however, undoubtedly helped by Jude Law, who played my trusted companion Watson. He oozed quiet confidence and managed to create an engaging and enjoyable relationship with Downey Jnr.

As for the villain of the piece, the infamous Lord Blackwood, was ably imitated by Mark Strong. A sardonic, brooding threat, he kept the film moving along when it may have faltered.

As, make no mistake; this was not one of my more complex cases. It seemed the auteur of this film, Guy Ritchie, had to fill much of the time setting the scene and introducing the characters and their subsequent relationships. The main case, one of intrigue and surprising revelations, was hardly allowed to breathe.

Overall the case was an enjoyable one, but I feel subsequent chapters can become even more packed with suspense and mystery. There were exciting moments, such as a confidently fight scene with a towering Frenchman, but for its two hours run time it lacks the expected number of stunning set pieces.

Indeed, the end of the film was geared towards engineering another chapter and I anticipate that will be all the better thanks to this instalments sacrifices.

Once I had left the theatre I had managed to deduce, quite elegantly, that the note was sent by none other than my dear companion, Watson.

The reasons were obvious. He simply wanted to get rid of me so that he could spend more time with his wife. Apparently my continual pestering irks him so.

The fact I could not see this beforehand surprises even myself. But despite this trickery I managed to get the last laugh- the film was an unexpected triumph, and gave a unique interpretation of my great legend. If you’ll pardon the arrogance that last statement engenders.

FILM REVIEW- Up In The Air

Up In The Air (15, 109 minutes)

Is it a soaring success or a baggage leaden disaster?

Where?

Empire Cinema, Poole

Plot?

Ryan Bingham (Clooney) has a job where he flies around America firing employees for cowardly bosses. But the emergence of a new work partner and love interest threatens to alter his comfy existence.

Thoughts?

Does George Clooney ever act, and become a completely convincing fictional character? Or is his on screen persona simply an extension of himself?

It’s an interesting conundrum, but luckily one that never threatens to overshadow this latest effort from director Jason Reitman (Juno, Thank You For Smoking).

Mainly because the film suits Clooney to a tee. Smooth, confident with a hint of self depreciation, it boasts a charmingly slick veneer

The opening scenes, where Bingham’s set routine is demonstrated in a series of quick, effective series of shots, is a key example. It all clinks perfectly into place. It never feels forced, uneven or unsure.

This gives the film a certain clean cut charm, and for the most part you can sit back and enjoy the craft and assured technique Reitman has brought to the table.

One potential problem with any Hollywood product however, is that it can feel a little cold, with no link to the real world, and can end up a pretty yet unsatisfying mess as a result. This also is fortunately not an issue here.

Bingham may work for a company who deal in human misery and rejection, but he is still, somehow, a character easy to embrace.

This is demonstrated by perhaps one of Clooney’s most affecting acting ‘moments’ yet. Near the end, while Bingham is confronted with a difficult relationship decision, Clooney twists his face into one of sheer pain and rejection. Seeing this at first is strange, almost awkward, but then you realize it’s simply because you actually care about the character.

This, despite Clooney seemingly playing the same experienced, smug, suave womanizer he always inhabits. But he somehow manages to dig a little deeper under your skin this time, and it makes all the difference.

Anna Kendrick as Clooney’s co-worker, also provides invaluable support, offering a welcome innocence and underlying vulnerability next to Clooney’s unrelentingly world weary attitude.

An essential element in sustaining the film beyond a simple tale of a man escaping the real world is Vera Farmiga and the relationship her character has with Bingham. She has the calculating cool of Clooney but seems somehow more distant- yet she stills creates a warm and moving chemistry with Clooney, making the ending have even more impact.

But this gear change from Bingham’s cocooned lifestyle to him becoming embroiled in a relationship comes off as Reitman wanting the film to be both satire and romantic comedy, and he can’t quite pull it off.

Unlike Thank You for Smoking, which flailed and lost your interest in its final act, this does maintains your interest, but instead asks you to accept that it is almost two movies pasted together. It’s an acceptable compromise, but it does sadly hold it back from classic status.

Verdict?

A slick and almost clinical comedy that still strikes up a gentle charm. (3/5)

Haiku?

Clooney always smug,

But not too grating this time,

Worth seeing indeed!

Go Further…

· About an hour into the film the projector broke and we had to leave the cinema. Therefore the rest of the film was watched in a poor quality, stuttering online format. This may have resulted in an over-harsh judgement of the film as a whole

·Sam Elliot, the owner of the world’s coolest mustache, makes a small cameo. It is brilliant. The mustache, not the cameo. The cameo is merely ok compared to the magnificent hairy caterpillar which resides beneath Sam’s nose.

·Danny McBride is not convincing dramatic actor. His role in this film convinced me of this fact.

Second Opinion?

Empire loved it…

http://www.empireonline.com/reviews/reviewcomplete.asp?FID=136159

Trailer?

http://www.youtube.com/watch?v=_m-Da8Tz4_E

LARGE NOSE MAN- Chapter 5

*What is this? A continuing story about a superhero I made up, Large Nose Man. I wrote much of this many years ago, so I have edited it to make (some) sense, although it’s just a bit of fun really. One new chapter up every fortnight!*

Chapter five

“Hello Ladies and gentlemen…its time to die!” Declared The Doctor, with his monocle continuing to glint menacingly.

“You’re an madman, there’s no ladies here!” blurted out Mr Webb, as Kent jumped behind the desk.

“Well, you look like a lady at least, and that’s good enough for me! Come on Webb, it time for us to take a little trip to the nuclear reactor. You too, pussy behind the desk! ” Declared The Doctor, signalling his goons to grab them.

“The reactor is locked up at the moment, and I’m not sure…“ tailed off Webb.

“I think you’ll find a way of opening it. We all know this day has been a long time coming. I’m just surprised that you just didn’t hand your factory over sooner…” interrupted The Doctor.

“To you? I would rather die!” Cried Webb, as one of the Doctors goons grabbed him and gestured for him to walk towards the door.

“This can, of course, be arranged. Thanks to a little…nuclear accident.” Laughed The Doctor, as the other goon grabbed Alex.

“Get moving you cowards!” Demanded one of the goons, as he rammed the end of his shotgun into Alex’s ribs.

Just my luck, Alex thought, as they walked down the empty corridor. If I were late I wouldn’t be dying in a few minutes. Damn my punctuality.

“Here it is….” mumbled Mr Webb, sadly, as he fumbled with the door’s keys.

“Come on, come on” said the Doctor impatiently. “I have other evil plans for today you know…”

As Webb stalled with his keys he mumbled to Alex. “I hope you have some kind of plan kid. Because I’ve got nothing…”

Alex looked at him with regretful eyes. He too, had nothing.

“Enough mumbling you two” grunted one of those goons, plunging his shotgun into Webb’s side.

The metal door clinked.

“Finally! You should have used your nuclear plant to mutate yourself and give yourself a third hand. God knows your slow ass needs one Webb!” Joked The Doctor. “Not including the huge amount of time you’ve cost the reader, reading this dull chapter!”

The door creaked open. Alex and Webb were minutes from a rather ugly and unfair nuclear related death, unless they thought of something. Anything.

*

For the other chapters, visit here-

http://ebtksonline.blogspot.com/search/label/Large%20Nose%20Man

FILM REVIEW- A Serious Man

A Serious Man (15-105 mins)

He’s not much of a man. Or very serious for that matter…

Where? Poole Lighthouse

Plot?

Larry Gopnik is a Jewish teacher trapped in 1967 suburbia, with a cheating wife, complaining children, bribing students, useless rabbis and a dysfunctional brother. Life keeps on piling on the problems, and he can’t cope…

Thoughts?

Burn after reading saw the Coens at their extravagant worst. Rambling, unfunny and ultimately dull, it was a million miles away from the eerie calm of No Country For Old Men, or the controlled chaos of the big Lebowski.

Although not a masterpiece, this is a return to form of sorts. It is a constantly downplayed and quiet film, but it is always engaging and has a drive Burn After Reading sorely lacked.

Most of this is down to unknown Michael Stuhlbarg, who imbues Larry with so much timid fragility, you will want to literally reach into the screen and shake him into taking some action.

His constant inability to deal with his problems makes him one of the most frustrating yet sympathetic characters yet seen on screen. You hope throughout that something, anything, will go in his favour.

But clearly that would ruin the joke, and the Coens aren’t playing by any rules. And that includes giving you a clear cut happy ending.

Black humour is the name of the game, and there are flashes of brilliance here that help lighten Larry’s seemingly endless slide into oblivion.

A rabbi’s tale of messages within a mans mouth is a confidently comedic sidestep, and some dream sequences which might be seen as out of place if they weren’t so powerfully memorable.

As for the films ending, god only knows. It is audacious and perplexing, and no doubt will leave many desperately searching for a concrete explanation.

There’s no easy answer here though. Is an ending not necessary like in the elder Rabbi’s tale, and therefore not needed? Is it religious payback for Larry’s morally questionable act at the films end? Is there any link between the end and the separated opening scene?

It’s all unknown, and some will find that as enthralling as others will find it deeply frustrating.

If you want your films to engender debate then this is perfect. But the debate will also be whether this is yet another decent but underwhelming Coen tale to add to the pile.

It is similar in many ways to Barton Fink, good and bad. They are both dark and brooding in tone, possess characters which you can’t predict, but ultimately fail to piece together their enjoyable moments into an all encompassing whole. Bitty, but enjoyable.

Overall, it is too coy, too unwilling to conform to audience expectations, to break the mainstream. A cult fan base surely awaits.

Verdict?

Another marmite flavoured slice of Coen pie. Easier to enjoy if you don't expect any easy answers. (3/5)

Go Further?

· Technically, this is the film the Coens filmed after No Country, but for some reason Burn After Reading was released after the Oscar winner.

· Note how there are no faces you recognise. Brave, and it adds immeasurably to the films understated tone.

· The film has an interesting soundtrack. You unfortunately don’t hear much Hendrix in films nowadays…

Haiku?

Coens hate the mainstream

This is a prime example

Refreshing indeed!

Second Opinion?

Mark Kermode thought it was refreshing to see such a film shy so far away from the mainstream...

http://www.bbc.co.uk/programmes/b00nwvqy

(Halfway down the page, below Twilight)

Trailer?

http://www.youtube.com/watch?v=tcUTv3LH3ss

FILM REVIEW- An Education

An Education (12A, 100 mins)

A lesson in how to manufacture pure bland

Plot?

Jenny (Mulligan), is a young schoolgirl who has to decide between an easy, wealthy, married life, or working hard and achieving an Oxford University education.

Thoughts?

This is a hard review to put together. Not that this film is so bad that it’s hard to put into words. Or that it’s so good that it’s hard to do it justice.

No, it’s because this is so thoroughly ok, so perfectly middle of the road, so shockingly unremarkable it’s hard to be either too harsh, or too generous in assessing it.

Mulligan puts in a decent performance as a troubled teen. But even though she is a more sympathetic character than, say, Bella in Twilight: New Moon (she doesn’t mope all the time for one, and she *gasp* actually smiles from time to time), she can’t sustain the whole film.

Molina makes probably the biggest impression as a doting, muddled father, but this is only as the rest of the characters are so white washed and flat- his slightly lovable and occasionally amusing turn was bound to stand out. In any other film he would hardly register.

The film also rushes through it’s conclusion a bit, but not enough to be a genuine flaw. It’s almost as if the director got a bit bored with what was happening and decided to cut it short.

It does mean the film is surprisingly brief for a (supposedly) lyrical and affecting drama, at just over half an hour. Depending on who you are that could be a merciful positive though.

Another minor annoyance is that the ending does not really justify the previous hundred minutes. Jenny’s character arc is not in anyway satisfying, and the tough choice she has to make near the end was completely pointless. Without ruining it, she, effectively, loses nothing through the option she made. She’s just held back a little bit.

In summary then, if this film was a life support machine, it would be one that is just, just, faintly alive. There are tiny blips of plot developments, so that your interest is never flat lined, but never does it go for the jugular, and get you truly involved in what’s occurring onscreen.

Right, time for a word count…338? That’s easily enough. Phew. That was hard work.

Verdict?

The definition of two stars. (2/5)

Haiku?

So, so, Average

Please, please, something bizarre happen

No? Two stars for you!

Go Further (this is going to be difficult)…

· Ummm, Emma Thompson has a small role as a head teacher. She’s a bit of a jerk of a character. That’s it really. No film stealing cameo here.

· The opening credits are quite nice, styled a bit like vector graphics. Enjoy it. It doesn’t get more visually interesting than that.

· This is based on a memoir, so no wonder it feels so slight, like a mere leaf floating in an updraft.

Second Opinion?

Revered American critic Roger Ebert thinks this films slow, slight nature is intentional…

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20091021/REVIEWS/910219994/1023

Trailer?

http://www.youtube.com/watch?v=cXJPX0XvsHs