Review: The Bling Ring

Sofia Coppola is a woman who has made a career by telling stories about unlikeable and lost people. Characters such as the spoilt Queen of France and an actor wasting his days in the legendary Chateau Marmont may not exactly appeal to audiences, yet with a mixture of stunning cinematography, clever scriptwriting and perfect musical cues, Coppola presents them in a way that makes us sympathize with, if not even like them. What's noticeable about The Bling Ring is that this ability to show humanity in even the most awful and hopeless people in a flattering light that has run through all of Coppola's films is missing here. Without it, she has succeeded in creating a film that is every bit as hollow and materialistic as the characters within it. 

It's not the topic of wealth that causes Coppola to go astray, as she's dealt with it well in a previous (and unjustly underrated) film, Marie Antoinette. By setting a scene consisting of hundreds of pairs of shoes, mountains of cake and fountains of champagne to Bow Wow Wow's "I Want Candy", she manages to create an image that is both satirical and lustworthy. Rather it's the viewpoint that she chooses to take towards the film's protagonists, the titular Bling Ring, a group of teenage wannabe A-listers turned thieves. Instead of following her usual formula of showing the protagonists at their very worst, wallowing in self-pity or egotistical self-love, before showing us that hey, these are people with neurosis's and weaknesses too, cut them some slack, she attempts omniscience by presenting these the teens and their livestyles to us without passing comment on their actions. In every interview I have read with her proceeding the film's release, she's made it very clear that she doesn't want to pass judgement on the Bling Ring, and would rather the audience make their minds up for themselves. Yet this is exactly the sort of film that needs to be subjective. Without Coppola taking a clear stance against the Bling Ring, telling us whether or not they should be detested or envied, the film has little structure, and becomes simply a series of teenagers breaking into houses, cooing over clothes and getting drunk, before FINALLY getting their comeuppance. 

It's not just Coppola's viewpoint that makes this film weak. Visually, it's lacking the light touch and beauty of her other films. The Virgin Suicides is a film that audiences adore not just for its universal themes of wasted youth, angst and love, but for its dreamy visuals. As Virgin Suicides and Marie Antoinette are set in the past, it makes perfect sense for them to be filmed in a dreamlike haze of nostalgia. But Lost in Translation and Somewhere, both firmly rooted in the present day, are still endlessly interesting to look at. Bling Ring on the other hand, is as conservative as they come, mainly lacking Coppola's distinctive camera talents. It could almost pass for a standard Hollywood film.

I can without a doubt confirm that The Bling Ring is the weak link in Coppola's otherwise flawless chain of films. While of course the film's point is to question the media-obsessed world we live in, the film's attempts to delve into the world of celebrity, such as a slideshow of images of Paris Hilton, looking as though they were created on Microsoft Powerpoint, fail miserably. Perhaps another year, and another time, and the gang's (admittedly real, and fairly impressive for a group of dumb teenagers) exploits may seem more impressive and dangerous. But compared to Harmony Korine's pastel daze of Spring Breakers, they seem like nothing. The title may be bling, but sadly the film does little to dazzle an audience.

Grace Barber-Plentie 

Review: This is the End

Celebrities are (mainly) pretty shitty people. The apocalypse is a bit of a bummer. Combine these two things and the most obvious outcome is an indulgent circle-jerk of a film, with the occasional pyre of flames and caverns opening to hell. Certainly, this is what the majority of the public expected of Seth Rogen and Evan Goldberg's directorial debut. Yet what they got was something rather different. 

Obviously, the "classic" elements of every film our ensemble (James Franco, Seth Rogen, Jay Baruchel, Jonah Hill, Danny McBride and Craig Robinson playing allegedly fictional versions of themselves) has starred in feature - weed smoking, masturbation, jokes about masturbation, bromance - yet the obviously sentimental Rogen and Goldberg do allow themselves to throw in a few moments that are fairly emotional, amidst all the chaos. Overall, its the story of the disintegration of Baruchel and Rogen's friendship - it's coincidental that the world also seems to be ending. The film also contains a surprisingly religious core that is rarely - if ever - seen in Hollywood films these days. (probably because most of Hollywood are scientologists?) As the film progresses, the gang realise that they haven't exactly lived the best of lives, and that the hellfire reigning down upon them may be a little more than just a bit earthquake. 

Most of the film can certainly be admirable as an effort from first-time directors, yet there are inevitably a few flaws. Nearly all of the film's CGI elements look pretty shlocky, so much so that it's hard to believe that this is a film released in 2013. Some sections also drag, particularly those where the characters just sit around and talk in Franco's house. Clearly, this is a trait that the two have inherited from their mentor, Judd Apatow, as This is 40 was basically 2 hours of Paul Rudd and Leslie Mann sitting around and whining about their "terrible" (pretty great) lives. Rogen and Goldberg also try to counter this with many twists and turns, some of which just feel very strange. The last 30 minutes or so of the film are very surreal, and as I left the cinema, the only thing I could think to remark was "that was a strange film".

Yet, credit where it's due, I haven't laughed as much at a film in the cinema for a LONG time. The humour, unsurprisingly, is not the most sophisticated, and not every joke hits, but when they do, they are golden. Particularly excellent are the Freaks and Geeks references scattered throughout the film ("Freaks forever!" a worringly obsessed James Franco tells Seth Rogen) and a few cameos late in the film that have astoundingly been kept secret from the public. This is the End may be a little scattered, but for some of the jokes alone, it's well worth flocking to like the world is ending. 

Grace Barber-Plentie

Review: Before Midnight

Watching each of Richard Linklater’s Before films feels like visiting old friends, perhaps even more so with his latest Before Midnight. Nine years have passed since we last visited Jesse (Ethan Hawke) and Celine (Julie Delpy) in Paris during Jesse’s book tour and the couple are now married and holidaying in Greece with their twin daughters. This isn’t necessarily a spoiler – these film can’t really be spoiled as the magic of them lies in the dialogue and how these beloved characters deal with their lives at each stage we visit them.

Where Before Midnight clearly differs from the previous two films is that Linklater allows Jesse and Celine interact with other people, both separately and together. Because of this, the film feels more relaxed and casual as they are not dealing with the constraints of time like in Before Sunrise and Before Sunset - they can afford to take their time.

Instead, they are dealing with the constraints of marriage and parenthood which addressed more directly in the second half when they take the night off at a hotel and end up bringing out the worst in each other. Gone are the romantic, hopeful fantasies found in Before Sunrise. Here we are able to see the cynicism and realism that living through previous failed relationships have cost the protagonists. They are mean to each other, insulting each other choices and ideas. “I fucked my whole life up because of your singing” Jesse tell her and we’re unsure whether or not that’s a declaration of love or an admission of bitterness. The second half, where it’s just the two of them talking, feels more natural, like old times, and yet it’s also uncomfortable to watch as they tear each other down.

Although Before Midnight isn’t my favourite of the three, it still feels so authentic and is really just perfect. It’s so strange to see Julie Delpy and Ethan Hawke go from their baby-faced twenty-something selves in Before Sunrise, to a married greying couple but both actors are these characters and play the roles naturally. I hope that Linklater, Delpy and Hawke let us revisit these characters again in 2021.

Beth Johnston

Take Two Review: The Great Gatsby

At Real to Reel, we know that if you want to see a film, it's easy to either be completely swayed by someone else's opinions before you've even seen it, or reject their views entirely. Therefore Take Two provides you with not one but two reviews in order to give you two perspectives of the newest releases. The best things really do come in twos. 

Reading The Great Gatsby, I grew more and more excited for Baz Luhrmann’s film adaptation: like many, I was excited to see how he’d re-imagine the world of lavish parties, of superficial allure belying deep-rooted, intimate chaos. Luhrmann’s flamboyance bringing Fitzgerald’s words to life - it seemed like a dreamy match. And visually, it was a dream. The cinematography is everything you would expect from a Luhrmann film, taken and then doused in glitter for good measure (this is a good thing). Every single scene is glowing, saturated with showy costumes, fireworks; the reckless fervour of the 20’s is visually encapsulated with eye-watering intensity. There is very little room for subtlety, bittersweet, as this is both Gatsby’s strongest and weakest point.

While cinematographically, Luhrmann’s bluntness is perfect for capturing the wasteful extravagance of the world of Gatsby, from a narrative standpoint it doesn’t translate so well. The original novel is narrated by our protagonist Nick Carraway, and to stay true to this, Luhrmann employs the device of having the entire film be a proposed recollection told by a now alcoholic Carraway. In this way, entire lines of Nick’s inner dialogue are spoken to us throughout parts of the film, which I found pretty distracting. Instead of recreating he repeats - Luhrmann relies too heavily on telling as opposed to showing. Instead of translating the text into acting, the text is simplistically spoken with images playing in the background - giving a hollow feel, and at times robbing the actors of opportunities to fully characterise their roles.

Yet when the actors are given a chance to breathe amongst the overwhelming chaos of Luhrmann’s direction, the film picks up its pace. Perhaps tellingly, the most raptly engaging scene happens to be the fall-out in the hotel, which is carried by the powerful acting rather than flashy theatrics. Leonardo DiCaprio - whose charismatic portrayal of Gatsby draws you in throughout - is especially stellar here, his performance holding you viciously rapt. I have mixed feelings about Carey Mulligan’s performance - she’s good, but never quite captures the spellbinding aura which magnetises people to Daisy in the novel.

While in concept brilliant, and the execution at times engaging, this film is testament of the importance of substance. It touches upon the surface of the world of Gatsby, capturing the extravagance, but leaving not much space for the emotions which are the true compelling factor of this story. Great skill is required to successfully employ a kitsch aesthetic whilst maintaining integrity in the storyline- Luhrmann has pulled this off before in Romeo & Juliet, and Moulin Rouge; but his execution of The Great Gatsby was heavy handed, lacking the depth required to make this work.

-Anita Bhadani

It turns out that sometimes simply dreading a film is a good idea. Like the rest of the Western hemisphere, I'd felt mild curiosity towards The Great Gatsby as it was announced and drew ever closer, watched trailers and listened to snippets of the soundtrack. However the feeling of pure breathless excitement that everyone else seemed to feel just wasn't there in me. I only finished the book a week before the film, so I was never a long-term fan. It's not as if I dislike Baz Luhrmann's films - far from it in fact, I love the surreal, angsty Romeo + Juliet and Moulin Rouge and the small-scale charm of Strictly Ballroom - I just had no interest in any of this lavish spectacle. And as the reviews from the American opening weekend and Cannes preview came in, my feelings turned from mild curiosity to pure dread. And yet, despite my reservations, I went to see it, 3D and all. And do you know what? I (mostly) loved it.

I know, I'm as surprised as anyone else. I was all set to absolutely loathe the thing, (and, for the first ten or so minutes of Nick Carraway discussing an Alcohol problem that Luhrmann has handily fashioned as a framing device, I really did) but before I knew it I was as reeled in as someone who was desperate to see it for the last six months. As Anita mentions above, the cinematography in Gatsby, particularly its first half, was out of this world, like something from a glorious glitter-soaked vision that I'd never recalled having. Every detail, from Myrtle Wilson's kitsch pink apartment to the wonderfully extravagant parties and Nick's flower-filled apartment felt just perfect. It's Luhrmann through and through. Even the anachronistic soundtrack wasn't as awful as I'd thought it would be, as everything was kept fairly brief and discreet.

But, with an adaption of what many hail to be The Greatest American Novel Of All-Time Ever, there are bound to be a few issues, and this certainly proves true. This is a Hollywood film, and so Gatsby and Daisy's love affair is one of snatched rendezvous and murmured confessions of ever-lasting adoration. What in my opinion felt like a doomed love between a hopeless romantic and a girl unsure of what or who she wants is immediately translated into something picturesque. It's interesting that as soon as Gatsby and Daisy are reunited, the story begins to wane slightly, as the film loses momentum (Aside from the well-acted altercation in the Hotel suite).

Another big problem for me is the way that anyone non-white is immediately transformed into some bizarre and exotic creature. True, this is a reflection of the time period, but showing a group of lavishly dressed black people writhing around in a car as a Jay-Z song plays and the film's protagonists gawp at them just feels a little tacky. As for the casting of Bollywood legend Amitabh Bachchan as a Jewish Gangster, I feel that, enough has already been written about that for me to go into it. I know it's mainly Fitzgerald's writing that's at fault, but in 2013 you'd surely think there would perhaps be a more subtle way to depict race in a film like this.

Overall, Gatsby is certainly an admirable effort of translating what is said to be an unfilmable book to a new audience. If you're happy to take it at face value, it's a beautiful film about beautiful people, one that will capture an audience and take their breath away, especially with the enhancement of 3D. It's only if you're searching for a little meaning that it may lose some of its sparkle.
-Grace Barber-Plentie

Top Ten Song and Dance Numbers

Random Song and Dance numbers in film are literally THE GREATEST THING EVER. If you're not up to watching a full-scale musical, (and I certainly won't be for a while after watching the travesty that was - fancy French accents at the ready - Les Miserables) you can briefly see your favourite characters puttin on the ritz for a few moments, before returning to reality. Sometimes these musical numbers might mean something (the dance contest in Pulp Fiction or the New York, New York scene in Shame for example) but, most of the time, they have absolutely no purpose. Which is the main reason why I love them. Below, my fellow writer and I have selected some of the very best bemusing and amusing song and dance numbers to put a smile on your faces. But beware - they may cause you to dust off your tap shoes or grab a microphone.

Do The Right Thing

Ah, Spike Lee. Some may label him as a misogynist, sexist, colourist, general idiot, (I myself have labelled him many of these things after I was foolish enough to do a project about the portrayal of women in his film. Hint: not so great.) but the man knows how to make a good film. And some bad ones. But let's stick to the good ones. Do The Right Thing is almost universally lauded as Lee's best film, and I like to think this is because of its REALLY FRICKIN GOOD OPENING CREDITS. Oh man, I can't describe how much I love them. I only saw this film for the first time last year, but already this youtube video has become my salvation in times of sadness. Because, if anything can cheer you up when you're glum, it's Rosie Perez shakin her thang to "Fight The Power". A brilliant opening to a brilliant film. 

- Grace Barber-Plentie

Slumdog Millionaire

Danny Boyle puts us through so much emotional trauma in Slumdog Millionaire that a credit song and dance sequence really seems like the only way to end his Oscar winning masterpiece. I swear, the only reason this film was touted as “the feel good film of the year” is due to this end credit sequence which basically radiates joy. Boyle puts Dev Patel and Freida Pinto, along with hundreds of extras, in an Indian train station and gets them to dance to A R Rahman’s Jai Ho. He then brings in the adorable 5 year old versions of their characters and my heart immediately melts.

-Beth Johnston

Ferris Bueller's Day Off

Let's face the the facts here - this is probably the most joyful moment in cinematic history. You may argue, but what's not to love? Parades, balloons, a frickin Beatles song and everyone having a blast? The now-infamous scene catches the essence of John Hughes films, the feeling of rebellion and escapism from your mundane life, not just with normal activities but with stealing your friend's dad's car and ending up in the middle of a parade just for the sheer hell of it. The film is charming enough without this scene, but with it, you just can't help but grin from ear to ear. Honestly, watch the video and try not to smile at least once. 

-GBP

The Fisher King

The Fisher King is definitely one the strangest films I’ve seen and explaining the plot of it to someone usually results in confused looks. But there is no denying the beautiful simplicity of Terry’s Gilliam’s flashmob waltz in Grand Central Station. So, Robin Williams plays a homeless man obsessed with finding the Holy Grail and Jeff Bridges is a guy who inadvertently ruined his life years earlier. Robin Williams’ character then becomes smitten with Amanda Plummer whom he follows through Grand Central, completely in awe of her. It’s a mesmerising scene that is arguably one of the greatest scenes in modern cinema and it’s frustrating that hardly anyone has actually heard of it. So go forth, and prepare to be impressed.

-BJ

A Life Less Ordinary 

A Life Less Ordinary certainly isn't Danny Boyle's most famous film. Nor is it even his best. But there's something about it that really makes me love it. It tries to combine about a gazillion genres into one film, which makes it a little messy, but for the most part, it's cute and funny. Plus Ewan McGregor's in it, back when he was Ewan McGregor, cute shy actor guy, rather than Ewan McGregor MOTORCYCLE/MOULIN ROUGE GUY. This song and dance number, incidentally to one of my favourite songs, kinda sums up the film. It's unpolished, a bit messy, but oozing cuteness. Makes me wish I could do a fantasy song and dance number in an American bar.

-GBP

The Breakfast Club

Following Brian, Claire, Allison, Andy and Bender’s reveal of why they’re in detention (taping classmates’ arsecheeks/skipping school to go shopping/attempted suicide via flare gun etc.), John Hughes lets his characters blow off little steam by dancing to Karla DeVito’s “We Are Not Alone”. There are so many reasons why The Breakfast Club is the perfect teen film and this dance scene really is one of them. Apparently, it was originally meant to just be Molly Ringwald dancing alone but she was too embarrassed and so Hughes made all five of them do it. What’s so great about this scene is that it’s 100% how I dance alone to music, especially whenever this appears on my iPod.

-BJ

The Big Lebowski

Does this really count as a Song and Dance number? I'm unsure. Do I care? Nope. This scene, like the whole of Big Lebowski is the kind of bizarre madness on the large scale that tends to exist only in the world of the Coen Brothers. Bizarre drug-fuelled bowling themed dance number? Heck, why not. It may completely hurt the eyes, but the scene is one that will forever stay in the brain. It's hard to know what's the best part of the scene - from what should have been an Oscar-winning performance from Jeff Bridges, grinning with pure glee, to his stairway dance moves and silver and gold shoes. (Can I have these shoes? Pretty please?) It may not make sense, but that's part of the fun.

-GBP

Pretty in Pink

What would a John Hughes movie be without a song and dance number, am I right? Oh Duckie, Andy may never love you but just know that because of this scene, I always will. This is yet another scene that I will always recreate whenever “Try a Little Tenderness” comes on. It also perfectly encapsulates all of Duckie’s angsty, unrequited, teenage love for Andy as he dances around the record store she works at, thrashing into the shelves before thrusting on the staircase. What an adorable Otis Redding impersonating, beautifully-dressed ray of sunshine he is.

-BJ

Almost Famous

Ask anyone - Almost Famous is up there in my top ten, and I like to think it always will be. Despite the unrealistic expectations of music journalism it gives an audience, (I feel that the disappointment I felt when I realised what an un-Almost Famous life I was going to have if I pursued music journalism as a career was what made me set my sights on film journalism instead) it's a film made by someone who loves music, about people who love music. That's why the scene that takes place on the bus after guitarist and slight douchebag Russell has slinked off to a teenage party and taken acid is so joyful, because these people are united through the music. If they're singing, and dancing, and listening to Elton John, they feel like they can beat anything. Such is their conviction, that we feel it too.

-GBP

A Knight’s Tale

Ok, so A Knight’s Tale might actually be the strangest film I ever seen. Let’s get real here, how was this film ever even made? I’m not saying that in a bad way because whoever pitched this film is my hero, but it makes zero sense – just like its amazing dance sequence. So yeah, Heath Ledger disguises himself as a rich knight in order to make some cash and at a fancy feast he has to perform the dance of his country which is in fact, not real. So, Heath is forced to make it up on the spot and for some incredible reason this dance includes a mash up of old timey medieval beats and David Bowie’s “Golden Years” because, obviously. Ah, remember 2001? Those were simpler times.

-BJ

Coming Soon: Our Picks Of This Month's Best Cinema

Ah, May, the month of where summer blockbusters gradually appear and small indie films go into hibernation in order to get ready for the autumn awards season push. But do not worry, there are at least a handful of films for you to choose from!

Iron Man 3 – OUT NOW 

Despite Iron Man 2 being quite a let-down, I have high hopes for this one – and not just because my girl Gwyneth Paltrow finally gets to wear the suit! You really can’t go wrong with Robert Downey Jr as Tony Stark, he brings so much to the role that I can’t imagine anyone ever filling his shoes. I’m not too sure of the plot but it’s something along the lines of super-villain, played by Ben Kingsley, tries to destroy Tony’s world whilst Tony experiences an existential crisis about who he really is.

Star Trek into Darkness – 9th May

I wasn’t a massive fan of the first Star Trek. Don’t get me wrong, JJ Abrams ran a tight ship and it was a solid film but it just wasn’t my cup of tea. This time round however, Benedict Cumberbatch as the villain has intrigued me. No matter what you think of the man (he looks like a posh thumb), you can’t deny that he has a sinister look that makes him kind of perfect for evil characters. As with all JJ Abrams films, there’s barely any plot details introduced so let’s just assume that the Enterprise are being tormented by Benny Cumby’s character. If none of this interests you, then perhaps the inclusion of the little Russian cutie Anton Yelchin reprising his role will.

The Great Gatsby – 16th May

I HAVE BEEN WAITING FOR THIS FILM FOREVER. Baz Luhrman’s vision of one of the greatest American novels on the 20th Century starring Leo DiCaprio and Carey Mulligan soundtracked by Jay Z is basically a surreal dream come true. If you’re unfamiliar with the story, it’s a tale of love, glamour, money and the American Dream set in the Jazz Age. Despite the film being pushed back six months (never really a good sign), I still hold out hope that this will be brilliant or at the very least, it will look brilliant.

Mud – 10th May

Matthew McConaughey stars as a fugitive helped by two young boys to find his lost love. Written and directed by Jeff Nichols – who previously directed the compelling Take Shelter - the film has been earning great reviews since last year on the festival circuit and it’s meant to be one of McConaughey’s best roles yet. The cinematography looks beautiful and I even though it’s advertised as a thriller it looks kind of sweet to me. Worth a look.

I’m So Excited – OUT NOW

This film looks so outrageously, fabulously camp that I’m seriously dying to see it. If the trailer above isn’t enough, check out the review below!

Beth Johnston

Review: I'm So Excited!

For some reason I possess a magical gift that many often wish they could have - the gift of bullshitting. Not only that, but I specifically possess the gift to bullshit about films I haven't seen. I can name you every Jim Jarmusch film, in chronological order, with 90% accuracy. I know the twist in The Crying Game. So, although I've only seen two of his films - and only one of them in the cinema - I feel like I'm all too familiar with Pedro Almodovar's work.

I'm So Excited! is Almodovar's 20 millionth film, and a light comedy, something ironic considering that it's set up in the air. Those who found Almodovar's last work, surreal plastic surgery nightmare The Skin I Live In, will surely find this an entirely different affair.  The film bases itself in the Business Class section of an airplane circling around Spain after two of the workers at a Spanish airport (Antonio Banderas and Penelope Cruz in brief cameos) got distracted and made an error whilst setting up the plane. Basically, the plane's got nowhere to, and everyone's convinced that it will explode the moment it hits the ground. CUE COMEDY HIJINKS. No, really.

I don't know what it is, but European comedies seem so much more charming than English ones. Possibly it's do with with everything being subtitled, warmer weather and generally more attractive people? What the magical ingredients are exactly, I'm not sure, but what I am sure of is the charm and (fairly) sophisticated nature of French comedies such as Priceless and The Intouchables. Obviously I'm So Excited! is Spanish, and Almodovar is known for moments of bathos in his films, even the serious ones, therefore the film does, on occasion abandon the charming route for one that is just on the right side of vulgar. A bizarre sex scene to an Egyptian influenced Django Django song, for example, could easily have been crude were it delivered with the slapdash approach of an American Pie film, however here it is so ridiculous that you are simply forced to laugh. Another thing that is different here than in so many other slight comedy films is that Almodovar offers us characters that become fleshed out throughout the film, as more drinks are poured and more revelations let slip. Those gathered in the Business Class section may sound like the punchline of a joke - "A psychic, a dominatrix, an aging film star and a banker are all on a plane..." but we actually grow to know and like these characters. As well as those gathered on the plane we also meet the three camp air stewards - again, just on the right side of offensive - who act almost as a Greek chorus to guide us through the sheer madness.

I'm So Excited! may not be the best comedy in the world. It may not be the best Spanish film. But it offers something I have been severely lacking in recent cinemagoing experiences - laughter. After the gorefest of Evil Dead and pastel-coloured daze of Spring Breakers, it's all too nice an experience to put your feet up for a while and watch a comedy that offers jokes that are actually clever, and bewildering song and dance numbers to old Pointer Sisters songs. So excuse the poor pun but I can tell you with relish that I'm SO EXCITED (sorry) to see this film and laugh again.

Grace Barber-Plentie