Tag / films

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Out Damned Scot

Macbeth (Julian Kurzel, 2015)

I suspect — because it was my O Level set Shakespeare — that The Scottish Play was the first live Shakespeare I saw; a People Show production, I’m guessing at Nottingham Playhouse, with Bernard Hill and Julie Walters in the chief roles. We imagined, given it was the era of Boys from the Blackstuff that they’d play to their accents — The Scouse Play if you will — but it was played straight. Possibly even Scottish. We may have seen a BBC version, but what stays in the mind was Roman Polanski’s 1971 version with lots of violence and nudity.

And Keith Chegwin.

It was the first film he made after the Charles Manson stuff, the murder of Sharon Tate, and the violence is brutal — it precedes the rape/statutory rape scandal and the murky depths of whether he skipped justice or an unwise plea bargain. It is hard for some to watch a Polanski without the spectre of his life. The Scottish Play is a cursed play. Which is why you should never say “Macbeth”.

Gak.

And there was a Sam Worthington version a couple of years ago and now we have the version which Zack Snyder would direct in the tradition of 300 Spartans, but without the leather shorts.

Shame.

Plays are not films — the filmed play can seem stagy and closed in, but if you open it out you probably have to cut stuff to make room. Chunks of Shakespeare are scene setting, of course, his stages being almost bare rather than Wagnerian epics, so you can trim. The important thing is you can show rather than tell.

Oddly, however, the director felt the need to give us a written prologue that explains that a long time ago, in a country far far away, England was invading Scotland and Macbeth was top warrior. Why have a bloody man tell King Duncan the plot when we can read it?

We also have an invented scene of a burial for Macbeth and Lady Macbeth’s child. This is significant because at some point MacDuff, whose younglings have been killèd, says (perzoomably of Macbeth), “He has no children” and yet Lady Macbeth suggests that her breasts beasts have given sup. Either we posit that she is on a second marriage or a dead bairn. The two of them are thus grieving for a lost child, which they compensate for by arranging for lots more children to be killèd.

The decision seems to have been taken to play the action somewhat like a western; lots of open spaces and a slow burn (for what is a short and nippy play), although more to the point, none of the actors seem to open their mouths, which are for the most part covered in thick beards. Knowing the original text helps in working out who is speaking.

There are other liberties. Post battle, Macbeth — thane of Glamis — and his mate Banquo run into the three witches, who tell them that Macbeth is going to be promoted and Banquo should be proud of his children. Three witches, the three graces, the Virgin, the Mother and the, er, Other One.

Bloody Terry Pratchett rip-off.

Only, here there are four witches, and a child and a baby. Odd. Makes no sense.

So, Macbeth and his wife live in a simple yurted community with I think a Scandinavian church (or is it a feast hall?) and Shakiecams* follow their plotting to murder Duncan (David Threwfell) and pin the blame on his bodyguards. Then we’re meant to get one of the least funny clowns in the Shakespearean canon talking about brewer’s droop, but that gets cut. There’s some odd business with Duncan’s son Malcolm, which I think has been added, and then everyone buggers off the Bamburgh Castle and a Norman-style cathedral that pushes at the anachronistic. I mean, I suspect it’s about fifty years too early to be possible, and hardly seems likely. Meanwhile, they’ve finally found a tripod for the camera but can’t be bothered with continuity editing.

It’s been a long time since I saw the Polanski version of this and I know some people who would refuse to watch it on principle (and wasn’t there a Orson Welles one?), but however problematic it was, I don’t recall it taking one of Shakespeare’s shortest, speediest plays and making it just a tad dull.

Even if you did get Keith Chegwin.

* Shakiecam. As opposed to Steadicam. But there’s a pun there if you look hard enough. Possibly.

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The Dead Woman in the Attic

45 Years (Andrew Haigh, 2015)

One of the songs that Geoff (Tom Courtenay) and Kate Mercer (Charlotte Rampling) want to play at their forty-fifth anniversary party is “Smoke Gets in Your Eyes”. And it seems likely to — it’s filmed in a perpetually semi-foggy Norfolk, Geoff (and latterly Kate) sneak out for cigarettes and that might be a tear or two.

Theirs seems a happy marriage. Kate is a retired teacher, we learn from a tell-don’t-show conversation with her postie, Geoff is a former factory worker, slowly falling apart, whose heart condition caused their fortieth anniversary celebration to be cancelled. They have few photos of themselves and no children — but several dogs.

Then comes the bombshell. Fifty years ago, Geoff had pretended to be married to Katya, a German woman two years older than him, on a holiday in the Swiss mountains. She had fallen into a crevasse and her body has only just been found.

Kate notes that it is ridiculous to be jealous of a woman who died before they met. But still.

Indeed. Still.

Kate clearly feels haunted by Geoff’s ex (and Kate/Katya are so close as names), as the house becomes increasingly creaking and full of drafts. How much of their lives together were dependent on her not being Katya? Did they not have children because of this? And have far has Geoff been thinking of her? The mementos are in the attic — how often has he been with them? How often has he been with her? Had they slept together? Was she pregnant?

Haigh lets the camera rest on the two of them, lingering, letting us soak up the atmosphere. One or other will slide out of shot or come into view, forcing us to read faces (and sometimes silences). It’s all about reading the reaction.

Part of you may well think that she should just get over herself — why should someone he knew before her make her jealous? But, still. Did she have no boyfriends before him? But, still.

Both actors come with histories — La Caduta degli dei (The Damned, Luchino Visconti, 1969)), Il portiere di notte (The Night Porter (Liliana Cavani, 1974)) and Max mon amour (Nagisa Oshima, 1986) for her, The Loneliness of the Long Distance Runner (Tony Richardson, 1962), Billy Liar (John Schlesinger, 1963) and Last Orders (Fred Schepisi, 2001) for him — and apparently he’s Corporal Jonesy in the Dad’s Army Film. I associate a certain iciness yet sexuality with her (a Nicole Kidman with talent) and a melancholia with him. The actors, bravely, give us a sex scene — which we are initially teased over by the director as the bedroom door closes — and a lot of film history has flowed under the bridge for it.

I was struck by a certain amount of Katherine Mansfield-ness about the narrative — which turns out to be based on a short story. Her epiphanies are never as earth changing as Joyce’s and always seem a little out of reach — an infinity glimpsed, a set of footsteps over your grave, something learned but immediately forgotten. What shall we do now? What shall we do?

Kate needs her exorcism — but there seems to have been a lie at the heart of their marriage that its forty-five years cannot erase. The trust is gone and yet they might be closer than ever. Her friend Lena (Geraldine James) has tried to reassure her, how it is with women and how it is with men, and there has been a life, they have had a life (with photographs) … But, still.

Haunting.

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Shouldn’t It Be “And I”?

Me and Earl and the Dying Girl (Alfonso Gomez-Rejon, 2015)

There’s a scene towards the end of Me and Earl and the Dying Girl when Greg (Thomas Mann) goes into Rachel Kushner’s (Olivia Vooke) bedroom through the window. This was somewhat of a relief to me, since I was getting worried about Gregg’s use of the front door. Admittedly, it’s necessary that he go via Denise Kushner (Molly Shannon). The teen bedroom is that curious private/public space, the first space a teen owns and yet on sufferance of the parents. (At one point Greg threatens to look through his parents’ things in their bedroom; his father (Nick Offerman) warns him there would be a lot of tampons.) Erika Pearson, discussing the online presence of the typical teen, refers to the glass bedroom:

Inside the bedroom, private conversations and intimate exchanges occur, each with varying awareness of distant friends and strangers moving past transparent walls that separate groups from more deliberate and constructed ‘outside’ displays. The glass bedroom itself is not an entirely private space, nor a true backstage space as Goffman articulated, though it takes on elements of both over the course of its use. It is a bridge that is partially private and public, constructed online through signs and language

In the teen drama the identity is constructed in the actual bedroom (and the high school), although it is not necessarily a sexualised space. Greg here makes a big deal of not falling in love with Rachel, as well as his masturbatory habits. But, like the vampire, he also needs to be invited in.

Rachel has leukaemia. Greg’s mother (Connie Britton) has ordered Greg — awkward, dorky, self-loathing — to go to talk to her and be a friend, whether either rof them like it or not. Both Rachel and Greg are those kind of lovable, wiser-than-their-years, square-pegs-in-round-holes that Kevin Williamson put on the TV map in Dawson’s Creek (and Whedon did in Buffy the Vampire Slayer) and are obviously film films because, hey, we are watching a film. Remember cinema is narcissistic (see The Wolfpack) and Gregg not only likes films, he makes his own versions with his “co-worker” Earl (Ronald Cyler II). He likes Les quatre cents coups (The 400 Blows (François Truffaut, 1959)) and Taxi Driver (Martin Scorses, 1976) and Burden of Dreams (Les Blank, 1982) and the works of Powell and Pressburger and the two have made their own versions of forty films. (I hope the DVD will have these on.)

And so Earl and Gregg are persuaded to make a film for Rachel as she is dying — but Greg can’t quite work out how to do so as his present (a carefully cultivated neutrality at school) and future (university) begin to disintegrate.

The bittersweet nature of the film is balanced by a degree of whimsy — I knew I recognised the name of production company Indian Paintbrush and on checking they produced The Darjeeling Limited (Wes Anderson, 2007), Fantastic Mr. Fox (Wes Anderson, 2009) and The Grand Budapest Hotel (Wes Anderson, 2014), among others. I assume the animation expertise from some of those films is part of the talent here. It is perhaps shamelessly manipulative of our emotions.

It also offers a commentary on race in America, although I suspect it bodges it. Earl is African American and lives in a poorer part of town (there’s a factory or plant in the back of shot), Greg is WASP and Rachel is Jewish (there’s a minora carefully visible in more or less the first shot of her house). Difference is not shirked, but there is a risk that Earl will become the magical negro that Hollywood loves. He does, however, perceive Rachel as white. I suspect the minor characters are less diverse in their identities.

(It’s only now, a day afterwards, that I’m thinking of Robin Wood’s account of the interracial buddies (and Leslie Fiedler’s version in Love and Death in the American Novel) that I wonder whether the true love story is of me and Earl — with the dying girl as the heteronormative alibi. In their version of Midnight Cowboy (John Schlesinger, 1969) there is a distinctly eroticised shot of Earl.)

Meanwhile the film is stolen by Nick Offerman as Greg’s father, a sociology professor, and by Jon Bernthal as Mr. McCarthy, a history teacher, both of whom are clearly Greg’s male role models and are associated with strange food. Make of that what you will.

Bibliography

  • Hicks, Heather J. (2003) “Hoodoo Economics: White Men’s Work and Black Men’s Magic in Contemporary American Film”, Camera Obscura 18(2): 27-55.
  • Pearson, Erika (2009) “All the World Wide Web’s a stage: The performance of identity in online social networks”, First Monday 14(3): http://firstmonday.org/article/view/2162/2127

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Reservoir Wolves

The Wolfpack (Crystal Moselle, 2015)

For a form about voyeurism, cinema is very narcissistic. Coming up soon is Me and Earl and the Dying Girl (Alfonso Gomez-Rejon, 2015), where the characters make their own movies, and there was Son of Rambow (Garth Jennings, 2007) and Be Kind Rewind (Michel Gondry, 2008), alongside all sorts of Hollywood satires and actors as characters.

Apparently Moselle saw half a dozen teens, dressed like characters from Reservoir Dogs (Quentin Tarantino, 1992), in Manhattan. See spoke to them and found that they were part of a large family of children, all named for Indian gods, who had spent most of their lives locked in an apartment. Their father, Oscar Angulo, a Peruvian, had the only key to the place and strictly regulated any trips out — perhaps several a year, perhaps none. He wanted to protect them from the outside world of drugs and sex and violence and yet one cant’t help but feel this is another kind of abuse — especially given mentions of violence against their midwestern mother Susanne and his frequent drunkness.

And yet they were perfectly at liberty to watch Quentin Tarantino movies, indeed the apartment apparently had five thousand VHS tapes and DVDs. Not only could they watch these films, they could film their own versions of them with home made props. Movies within movies. A real life version of Gondry’s films.

As they reached adulthood, there was clearly going to be conflict — and finally Mukunda escaped, leading the others in turn. They go on a train for the first time, to Coney Island for the first time, to a cinema for the first time.

The documentary leaves more questions than answers and is not comfortable. We are given no indication as to how it came about and what access Moselle had, and how much her intervention made the story. It is not clear how the apartment is paid for — Oscar has worked but doesn’t seem to, Susanne has home schooled them with some payment, but they have no visible means of support. And you get the feeling you wouldn’t want them for neighbours. The abuse has clearly been normalised — the Angulo family seem curious happy and content, despite their imprisonment. It is as if the have been living in Plato’s cave their whole lives.

You can only hope that the world will live up to them.

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I ATEN’T DED

The Ecstasy of Wilko Johnson (Julien Temple, 2015)

It’s a long time since Earthgirls are Easy (Julien Temple, 1988), a valley girl sf satire with roles for Geena Davis, Jeff Goldblum and (a heavily-furred) Jim Carrey that is great fun in memory and yet sank at the time. This was Temple’s penance for sinking the British film industry with Absolute Beginners (1986). And he is is, doing television documentaries that get a cinema release.

Of course, that’s misleading. His heart’s clearly always been in documentary — The Great Rock ‘n’ Roll Swindle (1988) as one take on the Sex Pistols and The Filth and the Fury (2000) as another. His films Ray Davies: Imaginary Man (2010) and Rio 50 Degrees: Carry on CaRIOca! (2014) were part of Botney’s Imag!ne strand on the BBC, and The Ecstasy has a producer credit for Alan Yentob. (And, music aside, Requiem for Detroit? (2008) was a great piece of work.)

So, Wilko Johnson is a … rhythm and blues guitarist, in 1971 a founder member of Dr. Feelgood and associated with a range of musicians from or near Canvey Island, Essex. I will have heard his stuff, although not knowingly and I frankly cannot name a single track by the band. I’m either too old or too young and prog-rock of the Yes/Floyd ilk is what I listen to from that period.

I have no musical taste. But it’s my no musical taste. Get over it.

So any way, he was still going and still playing and in January 2013 he was diagnosed with inoperable, late stage pancreatic cancer and opted not to go through chemotherapy. The diagnosis was the making of him — there’s that classic interview between Dennis Potter and Lord Bragg of South Bank where the former discusses the blossom outside his window and the world and senses come alive. Wilko is saturated in Romantic poetry (and Shakespeare and Icelandic sagas and … studied a degree in English Literature and taught for a year) and has clearly had a Blakean epiphany. At one point he mentions LSD trips — but this clearly felt more vivid.

Temple had already interviewed him for Oil City Confidential (2009), a documentary on Dr Feelgood, so it seemed natural to go back. There was a great interview between Wilko and John Wilson — for Kaleidoscope Front Row? — and so he had proven he could talk feelingly about his own life, and not be maudlin or angry or depressing. Pretty well the only other voice here is Roger Daltrey, whom Wilko made an album with when he thought he was too ill to tour — oh, and a clip or two from Wilson and BBC news presenters.

It would make a great radio interview.

But this is a film — and I guess there aren’t enough bits of footage or archive photographs to eek out the talking head. The conceit of him playing chess against Death is appropriate — and Temple intercuts bits of Det Sjunde Inseglet (The Seventh Seal (Ingmar Bergman, 1957)) to help us. His taste for Shakespeare mean he can quote Hamlet (and Temple can intercut footage of a film of the play — I *think* Richard Burton’s), although it’s less clear if he knows that famous soliloquy is about suicide not just death. Then there’s A Matter of Life and Death (Michael Powell and Emeric Pressburger, 1946), a classic film about an airman’s near-death experience, which obvious offers a chance for A Canterbury Tale (Michael Powell and Emeric Pressburger, 1944) for a rather more Kentish (and Canterbury Sound) take on neo-romantic landscape. Oh, and Nosferatu and La Belle et la Bête (Beauty and the Beast (Jean Cocteau, 1946)) and … Stalker (Andrei Tarkovsky, 1979). And something Italian with books and chickens.

Temple’s own footage, when he’s not content to film Wilko in a landscape is ploddinly literal — growing/decaying plants, sands in a timer, stars rotating around sky, time-lapsed.

EVERY THING ENDS.

Although, of course, spoilers.

A photographer and oncologist Charlie Chan saw Wilko and though, that doesn’t look like that kind of tumour. You need a second opinion.

So now we have a Wilko very much in recovery — but frankly more depressed than when he thought he was going to die.

Don’t go to this expecting to get a sense of what Dr Feelgood was — I guess you need the other film for that — but try and edit out the frankly sub-Jarman visuals in favour of one of those great English musical characters who is still very much alive.

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Death of a Maître d

Mistress America (Noah Baumbach, 2015)

The central sequence of this film feels like a stage play: Brooke (Greta Gerwig) wants to open her dream restaurant in New York but is several thousand short, so has travelled to Greenwich, Connecticut (screwball comedy central) to borrow the money from her nemesis Mamie-Claire (Heather Lind) who had previous stolen her best idea for a tshirt, her kittens and her fiancé Dylan (Michael Chernus). She has been driven there by Harold (Matthew Shear), friend of her soon to be step-sister Tracy Fishko (Lola Kirke) and Harold’s girlfriend Nicolette (Jasmine Cephas Jones).

Brooke is a dreamer, probably self deluded, the kind of role that a Ricky Gervais or a Ben Stiller or a Jim Carey would play at any opportunity — a motor mouth, turning on a sixpence, full of how great they are and how dreadful others are. It’s rare that it’s a female character, although it clearly offers a version of the unruly woman. It’s a twenty or thirty year younger version of Edina and Patsy. Her dream of a restaurant, Mom’s, where you could get a hair cut and would be a shop in the day and where her children when she has them would do their homework, needs money, but we go through various shades of farce as she attempts to get it — foiled by a pregnant lawyer at Maire-Claire’s bookclub, a snide neighbour and Nicolette’s jealousy of Tracy.

Tracy is meant to be the viewpoint character — in her first term at a swanky New York university, wanting to be a writer and to join the university’s fraternity (of writers) and the Nick to Brooke’s Gatsby or the I to her Withnail. Tracy has stolen Brooke’s character for her latest fiction, something that will lead to friction. She is dull of course, but we should luxuriate in a rare example of a movie built around female friendships. There is a minor drama around how far she will become like Brooke, but there’s more of a sense that she can see through her whilst wanted to give support.

Your liking of the film will depend on your liking for cringe comedy — think of the embarrassments of Basil Fawlty, David Brent and (restaurant investor) Larry David. At times it’s nails on a blackboard, fingers on a balloon, laughing bat rather than with. But it also has that awkwardness of Willy Loman in Death of a Salesman, the tragic hero of the American Dream, who believes the tales he spins because to sell objects requires commodifying the seller. You can see straight through him and yet don’t want him to fail.

It is surely no accident that the film is Mistress America: Brooke becomes the personification of the American Dream that anyone can make it. She’s brash, self-deluded, yes, but also determined and ambitious. We don’t have to like her — but I think we can respect her.

Meanwhile, how does the film fit into the history of the bizarre post-apocalyptic depictions of New York in which all People of Colour have been wiped out? Well, Brooke has an African American neighbour, there’s the pregnant lawyer in Connecticut and, of course, Nicolette, whose jealousy reminds me of Angela (Jaz Sinclair) in Paper Towns. Is the indie-flavoured young female of colour there to be insecure or clingy? I hope not, but it’s just a sample of two.

All in all, an interesting film, although I can’t say I laughed out loud more than once or twice. But Baumbach and Gerwig, cowriters here, have plainly hit a groove that will be interesting to follow (and I should look up Frances Ha (Noah Baumbach, 2012), which is clearly on a similar theme).

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Be Careful Out There

Precinct Seven Five (Tiller Russell, 2014)

We’re used from television programmes such as NYPD Blue and The Wire to the complex interrelations between cops, criminals, politicians and victims and the shades of moral greyness that are faced in policing the streets. Our news of the last couple of years has been filled with dubious shootings of African Americans — not that this is a new phenomena. And despite the fact that particular police forces are clearly — in Stokely Carmichael and Charles V. Hamilton’s term — institutionally racist, we keep ending up with the one bad apple alibi.

This account of New York police corruption in the late 1980s and early 1990s is a documentary, although you can imagine Al Pacino and Joe Pesci and Robert De Niro playing the roles and the DEA guy is a double for J.K. Simmons. Thus it is mostly talking heads — with only one of the speakers shown in silhouette, one of the New York dealers — along with police evidence video, grainy reconstruction, archive photos and the inevitable skycam view of the streets.

But it begins with former policeman Michael Dowd giving evidence to some kind of enquiry and is taken up in talking heads. There had already been corruption in a nearby Brooklyn precinct, and several cops had resigned lest they be exposed too. Dowd, having reflected on the cynicism with which their ethical training was treated, began his shadow career by asking for a bribe rather than arresting a criminal and then started lifting cash from crime scenes. Soon he recruited his partner, Kenny Eurell, by giving him a hundred dollar bill from a crack dealer. Dowd appears the most dynamic of the speakers, the camera moves with him rather than staying locked off and it is clear there is next to no remorse.

We’re talked through his career — the bribes and thefts proceed to a working relationship with a local king pin to arresting the competition to a potential kidnapping of a debtor’s wife. The amounts of money involved are clearly vast — hundreds of thousands a week, devastating hundreds if not thousands of lives. The Dominican kingpin clearly admired Dowd, but still thought of Eurell as a cop and not up to it. (Meanwhile: cast Jared Leto?)

And inevitably it comes crashing down — we see his testimony — and we might reassure ourselves that criminals will not prosper. Dowd served his sentence. Only one female voice is heard — Eurell’s wife — and none of the consumers of crack. What is striking is that the real emotions come when you see Dowd and Eurell’s discussion of their feelings for each other — textbook homosociality. Clearly a cop’s partner is a blood brother, indeed when they discuss becoming partners you expect there to be a swapping of blood. You have to have each others’ back. You have to trust the other person won’t betray you.

And you get the sense that Dowd doesn’t regret a single moment of his career — only the betrayal.

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The Man from Unclever

The Man from Unclever (Guy Ritchie, 2015)

There was a moment part way through The Man from U.N.C.L.E. when Morricone music swells on the soundtrack and I thought Quentin Tarantino does repeat himself. It’s Inglourious Basterds (2009) all over again.

Then I realised it was a Guy Ritchie film.

Still, Tarantino had been down to direct (and you can see why), but he did Jackie Brown (1997) instead, I suspect his best film. Soderbergh, too, but he did enough already with the Oceans sequence (and I like Soderbergh).

I remember liking Ritchie’s work very briefly because Lock, Stick and Two Smoking Barrels (1998) because it wasn’t Merchant fucking Ivory – but then we got a spew of London gangster movies which were clearly mockney heritage, mocknerage if you will. I saw Sherlock (2009) much against my better judgement and knowledge of London geography, and it at least scores over other versions by not being created by Moffatt.

So thirteen versions of the script in, we get American art thief and reluctant agent Napoleon Solo (Henry Cavill) sent to help Gabby Teller (Alicia Vikander) escape from Cold War Berlin – only Soviet agent Illya Kuryakin (Armie Hammer) is there to prevent him. Solo succeeds, or we wouldn’t have a film, only to find his new mission is to help her find her father because of, yanno, uranium bomb and has been given Kuryakin as a partner to help. So, it becomes a parable of détente – or it would do if it put a tenth as much of its channelling the 1960s-as-GQ fashion photo shoot.

Cavill’s Solo is no whatisname from The Thomas Crown Affair, he’s not even Lovejoy, although he’s looking like Connery-era Bond undercover with Don Draper. His delivery is so mannered that it’s a wonder he can maintain the accent – utterly baffling. Hammer has his moments, but he also has an unreconstructed pre-feminism masculinity to him that is uncomfortable to like. He also has to do Incredible Hulk impressions (although he never tells us not to make him angry). Kuryakin’s playing of chess reminds me that the film is partly dependent on the kind of plotting that I’ve most recently seen in Spooks: The Greater Good (Bharat Nalluri, 2015), where the protagonist can predict what his opponent will do twenty minutes ahead of him.

And then, at the end, you realise that the whole film is an origin myth, the killing of the Waynes, the biting of the spider, because God forbid we begin in media res. I do remember watching the original television series – and have a faint sense of a crush on one of the leading characters although I forget who – but to be honest I have no memory of the series itself. The point of the film is to get Solo and Kuryakin into U.N.C.L.E. – explaining the broken-backed narrative that is typical of the first film in most superhero franchises: acquire power, acquire vocation. The sequel will no doubt include two villains and the threequel will have them fighting their doubles.

All of this is to damn the film – which is just so by the numbers dull. You can see the Bond and the Harry Palmer bits and the Steve McQueen of The Great Escape and whatisname from Thomas Crown and moments of early Paul Newman and even The Italian Job without the minis or Benny Hill or Noel Coward. And those are all much better films.

The oddest thing is that the film is largely stolen by Hugh Grant and the thought that a spin-off with him might be more fun.

(It could have been worse. It could have been Tom Cruise as Henry Cavill.)

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Paper Chase

Paper Towns (Jake Schreier, 2015)

I’m pretty sure there are a couple of moments in Philip K. Dick novels – Time Out of Joint? Voices from the Street? – when a character looks at their world and thinks it’s all paper. Or at the very least a stage set. That idea is here in a speech given to Margo Roth Spiegelman (Cara Delevingne) in this YA film, looking over Orlando from the top of a skyscraper. She also appears to be a bit of a Dickian anima sprite, there to bring some excitement to the middle-aged protagonist.

Except that the protagonist is here a teen, Quentin or Q (Nat Wolff), best friends forever with fellow geeks or nerds Ben (Austin Abrams) and Radar (Justice Smith), all of whom are prematurely middle-aged. Well, apart from Ben, who is turned on by any woman he knows, including Q’s mother.

Maybe that is also middle aged.

Q and Margo are neighbours, once inseparable, but grown apart through high school, until one night she calls upon him to help her commit nine acts of revenge. I didn’t quite count nine, so perhaps there’s stuff we didn’t see, but it brings Q alive at last. But then Margo vanishes – leaving Q clues to find her with. He has a choice – go to the prom, graduate, go to university, graduate, becomes a doctor, get married, have kids and be happy or find Margo. You can imagine the choice he makes.

I’ve got a copy of The Fault in Our Stars (2012), which has also been filmed and is also written by John Green, but I’ve yet to read it. I should remedy this. This is one of those films that is cleverly structured to undermine your objections to it. Isn’t she a little too idolised? Check. Isn’t it a little too convenient? Check. If he gets the girl, then it’s a rather trivial film with the female as impossible yet winnable love object, with the emphasis on object. If she rejects him, is that any better? And I guess since Galaxy Quest, nerds winning has been a thing – and you could imagine Justin Long of that film and several dozen TV classics in two of the central roles. Actually, its pedigree probably includes The Sure Thing.

Radar’s character occasionally risks stealing the movie with his parents’ collection of Black Santas (an attempt to get into The Guinness Book of World Records) and the moment when he is given a heritage-not-hate t-shirt (a detail that presumably became ultra-satirical since the movie was made).

What makes me resist the film a little, however, is the first person narration. Yes, there are a couple of scenes that Q isn’t in so I quibble a bit at that, but mainly I’ve a sense of being told not shown. In a film such as Stand By Me (Rob Reiner, 1986), there is a distinct age difference between the narrating self and the narrated self – which can bring pathos or irony or nostalgia according to taste – but here I felt I was being instructed. The director or script writer didn’t trust us and that’s a shame.

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I’ll Buy That For A Dollar

RoboCop 3 (Ted Dekker, 1993)

The third film of a franchise comes with low expectations – by then none of the original cast are in it, or the protagonist faces an evil double, or everything is shot in 3D, or the original premise is junked. Diminishing returns doesn’t come into it.

Yet RoboCop 3 is better than it has any right to be. RoboCop (Paul Verhoeven, 1987) was the director’s now trademark hyper violent satire on the corporate world, in which an almost fatally wounded cop (Alex Murphy (Peter Weller)) is made into a cyborg and forced to fight crime. He/it is the property of OCP (Omni Consumer Products) who clearly have an eye on the privatisation of the state for profit. In the sequel – directed by Irvin Kershner who directed the best (and second) instalment of a certain other trilogy – OCP are foreclosing on Detroit for non-payment. Detroit, by then, is a criminal warzone, by OCP envisaging a new gleamy city, which they will fund and profit from.

That city is still the Promised Land in the third film, but Detroit residents are being evicted supposedly to make way for the development. Functions of the state are clearly privatised and outsourced, with a new villain in the shape of Paul McDaggett (John Castle) and a new CEO in the shape of Rip Torn from The Larry Sanders Show. The Detroit police become increasingly wary of McDaggett’s plans, as rebels fight back in Old Detroit. When RoboCop’s (now Robert Burke) partner Anne Lewis (Nancy Allen) is killed – she really ought to wear that armour she has – he sides with them against OCP, erasing the fourth directive which should prevent such things. OCP, meanwhile, are facing financial ruin and a corporate takeover from Japan. Head office send in an agent, Otomo (Bruce Locke), to try and reassert control.

It is satisfying if ironic, of course, to see the skewering of a corporation in a Hollywood movie – although of course Orion went belly up in 1999. One character tells us “There is no silver lining, only corporate scumbags who want to line their pockets” and McDaggett snarls at the CEO “If you’re just now figuring out the line between big business and war is a little blurry, then you’re further over the hill than they say you are.” OCP’s ownership of people and land is reasserted again and again – memories are property, ideas are property. The media colludes in corporate brainwashing.

Detroit was, of course, the powerhouse of the American economy, the centre of the car industry – and it is telling that RoboCop is compared to a Chevy when he needs repairs. It appears that, albeit for a brief period, the tension lines of race could be ignored in the face of working class solidarity in industrial capitalism. But outsourcing and rationalisation led to the almost complete destruction of the industry and Detroit was indeed to declare bankruptcy. African American ghettoes surrounded by declining white suburbs was the result. Motown moved to Hollywood.

The trilogy has a range of African American characters, albeit their race is not commented on at all – Johnson (Felton Perry) is a Vice President throughout, surviving when many others don’t, a visible success story. Sgt Warren Reed (Robert DoQui) is the grizzled police sergeant, who becomes the moral heart of the film. Meanwhile, the new character Bertha (C. C. H. Pounder) is a smart and charismatic leader of the rebels. (There’s another character, a pimp (Ron Leggett), who feels rather more stereotypical of Hollywood film, an echo of the mayor from the second film and a criminal from the first.)

Age has not been kind to some of the special effects – whilst the stop motion animation of the police robot was always clearly a model, flying RoboCop is clearly blue screened in. Alongside the ultraviolence and a rather awkward use of the word “slag”, we also have a child protagonist, Nikko (Remy Ryan), of mixed ethnicity and, surprisingly, less cute than you’d fear. She is a computer genius – echoes of from Lex (“Oh – a UNIX!”) Murphy Jurassic Park. Indeed, RoboCop’s feminist credentials are stronger than Jurassic World.

Of course, what doesn’t sit well is the final climactic shoot out which leaves the Detroit Police as heroes. We are clearly meant to punch the air: “It’s time to show how real cops kick ass”. But news stories about the police have been problematic of late. Here, the Repressive State Apparatus wins out over corporatism – and that is perhaps a hollow victory for the citizen.

Meanwhile, the CEO of OCP – an anagram of COP, of course, even if I kept hearing it as OCD – has visions of corporate rebirth: “I realize that it looks bad but, I mean, maybe our plans were overambitious. Let’s start a skoshy bit smaller. Let’s gentrify this neighbourhood, build strip malls, fast food chains, lots of popular entertainment. Whadda you think?”

Regeneration as land grab. Still so familiar.