Fortyish and frustrated in their ambitions, José (Nicolas Duvauchelle) and Maxime (Raphaël Personnaz) hire Moise (Roschdy Zem) to kill their boss Eddy so they can take over the company and live the lives they feel entitled to. Pay the murder off and they have the control they desire and an easy life ahead of them.
Except that, unfamiliar with the criminal world, they have grossly underestimated Moise's intelligence and abilities. When he starts turning up at their offices and ordering people about there's not a lot the guilty pair are able to do about it. With Moise dating, and manipulating, Eddy's teenage daughter the situation gets ever more complicated and the efforts of José and Maxime to buy off the hitman only dig them into an increasingly deeper hole. Something has to give...
Zem also directed and it's his character who is the most interesting and convincing. He's callous, violent and evil, but in such an open manner that he's almost likeable. Certainly more than the hapless and twisted couple who hired him, and don't always feel like three dimensional characters. However the tension is well constructed, scene by scene, with some oddball comedy thrown in for light relief (Moise gets his patsies to finance the career of an appallingly bad rapper at one point), and it's enjoyable in a predictable way. PNG is no classic, but has enough in it to provide an entertaining ninety minutes.
Sunday, 5 January 2020
Wednesday, 1 January 2020
Le Brio, French Film Festival, Dominion
Neila (Caméla Jordana) is young working class Arab woman who sees gaining a law degree as her way out of the depressing Paris suburb she's being brought up in. But her first day at university is ruined when Professor Mazard (Daniel Auteuil) publicly attacks her in racist, misogynistic rant. He finds himself in trouble with his boss when a video of the incident goes viral. To make amends he must find a way of building a relationship with Neila to prove he's not the racist the world sees him as (even though he is), so he ingratiates himself to give her training in rhetoric and become a competitive debater.
The storyline is largely predictable - she takes time to adapt to his 'tough love' methods of tuition, but comes to respect him and becomes the university's star debater. When she finds out about Mazard's motivation for taking her on they fall out, but a form of reconciliation brings closure. A familiar tale, but the dialogue, acting and chemistry between the two leads makes this a far better movie than the above suggests. Mazard's methods offer plenty of opportunity for comedy, there are some interesting sub plots going on. Although the ending is a bit too-good-to-be-true the characters remain honest. Neila knows that their friendship is superficial and Auteuil does a wonderful job of ensuring Mazard stays unlikable - he'll always be a bit of a prick.
The storyline is largely predictable - she takes time to adapt to his 'tough love' methods of tuition, but comes to respect him and becomes the university's star debater. When she finds out about Mazard's motivation for taking her on they fall out, but a form of reconciliation brings closure. A familiar tale, but the dialogue, acting and chemistry between the two leads makes this a far better movie than the above suggests. Mazard's methods offer plenty of opportunity for comedy, there are some interesting sub plots going on. Although the ending is a bit too-good-to-be-true the characters remain honest. Neila knows that their friendship is superficial and Auteuil does a wonderful job of ensuring Mazard stays unlikable - he'll always be a bit of a prick.
Monday, 30 December 2019
Dilili in Paris, French Film Festival, Dominion
A computer generated fantasy set in Belle Époque Paris, the characters rendered in a naive style that emphasises the simple tale of god and evil portrayed. Dilili is a French/Polynesian child who radiates a positive goodness and a sensitivity to wrong. In partnership with her delivery-boy friend Orel she gets drawn into solving the mystery of young women disappearing. The plot is eventually revealed as one of Gilead-level misogyny, but along the way director Michel Ocelot shoehorns in a whirlwind tour of the BÉ cognoscenti whereby Dilili meets and converses with some of the the most recognisable names of the period. The Curies, Monet, Eiffel, Proust and many more are all there.
As a film with a message Dilili in Paris works for all ages, and it's flaws are well papered over by layers of charm and whimsy. The mix of reality and fantasy, and the simplicity of the lead character, create their own world, but one in which the 'baddies' are clearly delineated and reflective of evils we still face. A fun film, but one with a point to make.
As a film with a message Dilili in Paris works for all ages, and it's flaws are well papered over by layers of charm and whimsy. The mix of reality and fantasy, and the simplicity of the lead character, create their own world, but one in which the 'baddies' are clearly delineated and reflective of evils we still face. A fun film, but one with a point to make.
Just Retired, French Film Festival, Dominion
Marilou (MIchèle Larocqe) and Philippe (Thierry Lhermitte) are a sixty-something middle class couple finally able to take their retirement and live out their dream of moving to Portugal. Whereas their grown up children see on-demand babysitters, especially when their daughter separated from her useless husband. And suddenly the dream becomes a lot more difficult to realise. Will they get away to the life they've longed for, or are family ties too strong?
Played very much for laughs, the film relies heavily on the chemistry between the two leads, although Judith Magre is a real scene stealer as Philippe's eccentric mother. The result is a very funny farce, but lacking any real depth or meaning.
Prior to the main feature a short by the same director was screened. Burqa City is a comedy based on the premise that a man could lose his wife in the shops and return home, unwittingly, with another. When he goes in search of the woman he's lost he meets numerous obstacles, not least from the 'new' wife who's glad to get away from her own tyrannical spouse. There are some very funny scenes, not least the burqa-clad identity parade, and elements of slapstick from the silent movie era. Simple, but very effective. Brave too, as the director has had death threats over this lovely piece of absurdity.
Played very much for laughs, the film relies heavily on the chemistry between the two leads, although Judith Magre is a real scene stealer as Philippe's eccentric mother. The result is a very funny farce, but lacking any real depth or meaning.
Prior to the main feature a short by the same director was screened. Burqa City is a comedy based on the premise that a man could lose his wife in the shops and return home, unwittingly, with another. When he goes in search of the woman he's lost he meets numerous obstacles, not least from the 'new' wife who's glad to get away from her own tyrannical spouse. There are some very funny scenes, not least the burqa-clad identity parade, and elements of slapstick from the silent movie era. Simple, but very effective. Brave too, as the director has had death threats over this lovely piece of absurdity.
Robert Vincent, Voodoo Rooms
Local singer/songwriter Roseanne Reid opened. A decent guitarist and a distinctive voice with an interesting catch to it. Her songs have country influences, feel personal, from the heart, and genuinely emotional. She's got a nice line in self deprecation too. Worth looking out for.
Scouser Vincent was backed by Iain Sloan on guitar and pedal steel, Danny Williams on double bass, and the rapport in the trio was clear to see. Liverpool Americana sums up his style well, with a very Merseyside earthiness to his lyrics and a pop and rock sensibility underlying the arrangements (and, as he freely admits, a good line in misery). The voice has an offbeat quality that makes him immediately recognisable and he is one of the best songwriters around the UK country/Americana scene. He's amusing too, with a fund of stories and a way with an anecdote. If the musicianship isn't out of the top drawer the performance is, and Vincent is a great live act.
Scouser Vincent was backed by Iain Sloan on guitar and pedal steel, Danny Williams on double bass, and the rapport in the trio was clear to see. Liverpool Americana sums up his style well, with a very Merseyside earthiness to his lyrics and a pop and rock sensibility underlying the arrangements (and, as he freely admits, a good line in misery). The voice has an offbeat quality that makes him immediately recognisable and he is one of the best songwriters around the UK country/Americana scene. He's amusing too, with a fund of stories and a way with an anecdote. If the musicianship isn't out of the top drawer the performance is, and Vincent is a great live act.
Paper Flags, French Film Festival, French Institute
Charlie (Noémie Merlant), a struggling artist, gets a shock when a knock the door of her small home reveals the face of elder brother Vincent (Guillaume Gouix), fresh out of prison. He has nowhere else to go so she takes him in and tries to help him find a job and a future. She is embarrassed by his presence and tells friends he's just an acquaintance, while he is struggling to adapt to a world that has change radically during his time inside. The links between them are further complicated by their own relationships with their father, who has long since rejected Vincent as his son. But Vincent is determined to go straight, and to be the elder brother Charlie needs.
A complex family drama raising issues of forgiveness and change. Gouix is excellent, giving Vincent a depth and complexity that makes us sympathise with him even when he's acting like an idiot. Well worth seeing.
A complex family drama raising issues of forgiveness and change. Gouix is excellent, giving Vincent a depth and complexity that makes us sympathise with him even when he's acting like an idiot. Well worth seeing.
Ciarán Ryan : Banjaxed Album Launch, Voodoo Rooms
With Ryan being best known for his role in successful Scots/Irish/Hungarian band Dallahan, it was no surprise that support came from a couple of his bandmates playing solo sets. Andrew Waite's accordion opened the evening with a selection of his own tunes, each one lovingly introduced, and Jack Badcock followed with some of his own songs, delivered in his usual beautifully lilting baritone.
A further Dallahaner, Bev Morris on double bass, took to the stage as part of Ryan's own band, along with guitarist and keyboard player, fronted by the man himself on banjo and a bit of fiddle. In Dallahan Ryan is usually the quiet man of the line up, so there were some signs of nerves in his initial introductions. But as the evening moved along, the crowd got rowdier and the tunes faster he grew in confidence. They played tunes from his newly released album (which I can confirm is excellent) and although there are a few slower numbers the majority showcase the banjo man's rapid fingering and sure command of folk and bluegrass. There's a strong rockabilly undercurrent to much of the work and that had the crowd dancing and cheering with gusto (even including this old man by the end!). Strongly recommended.
A further Dallahaner, Bev Morris on double bass, took to the stage as part of Ryan's own band, along with guitarist and keyboard player, fronted by the man himself on banjo and a bit of fiddle. In Dallahan Ryan is usually the quiet man of the line up, so there were some signs of nerves in his initial introductions. But as the evening moved along, the crowd got rowdier and the tunes faster he grew in confidence. They played tunes from his newly released album (which I can confirm is excellent) and although there are a few slower numbers the majority showcase the banjo man's rapid fingering and sure command of folk and bluegrass. There's a strong rockabilly undercurrent to much of the work and that had the crowd dancing and cheering with gusto (even including this old man by the end!). Strongly recommended.
Subscribe to:
Posts (Atom)