The excellent Sound of My Voice further heralds Marling’s talents

In 2011, Brit Marling took sci-fi and indie-film fans by surprise with Another Earth, a contemplative character piece written and performed by the young Chicagoan.  Alongside that debut, Marling was also hard at work on Sound of My Voice, which soon will see its UK release.  Again, Marling pulls double duty in this sci-fi tinged thriller, which sees her take the role of a woman allegedly from the future.  The result is the knock-out blow of Marling’s one-two punch debut.  Suspenseful and gripping, Sound of My Voice is exciting both as a work unto itself and as a glimpse of the talent and potential within Marling.

Suspense is built from the get-go, as a couple engage in a mysterious preparation before finally being taken to the home of Maggie (Marling), where odd cult-like rituals ensue.  The couple in question are Peter (Christopher Denham), a substitute teacher, and Lorna (Nicole Vicius), a reformed socialite, who secretly aim to put together a documentary about the group they perceive to be a cult and whose lives may be at risk from Maggie’s manipulation.   Seeds of doubt are planted at every available turn and not only about whether Maggie is what she says.  There’s a certain K-Pax-ian influence at play here, but as each day and interaction pass, Sound of My Voice becomes more and more enthralling.  With no idea of what lies ahead or how one of Peter’s young students factors into things, Marling’s story is truly a joy to experience.  The finale may leave the audience asking questions, but it’s the right kind of questions, those intentionally left open to interpretation, that will be on their lips.  Sound of My Voice provides the type of clever psychology that is sadly lacking in most modern Hollywood sci-fi flicks.

Pixar’s Brave stands proudly amongst the studio’s finest work

If ever a studio was primed for complacency, it would be Pixar.  For over 25 years now, John Lasseter’s team has been pushing the boundaries of computer graphics animation, going on to win six Oscars for Best Animated Feature and leaving a pack of contemporaries in a distant second place.  Yet, for their 13^th feature film, Pixar has branched off into new territory, as Brave not only features the studio’s first female protagonist, but also sets the tale in their most realistic environment to date.  In a distinct move away from the more cartoonish aspects of animation, the design and detail of Brave makes it easy to forget that everything onscreen is CGI.  Thanks to a beautifully touching plot, not only is Brave certain to bring home Pixar’s seventh Best Animated Feature statuette, it is likely take a place at the top of the year’s best films, full stop.

Set in 10^th century Scotland, Brave is the story of young Princess Merida’s struggle to cope with the expectations attached to the position she has been born into.  Dealing with rebellion, resentment and regret, Brenda Chapman has crafted a Celtic folk tale that is easily relatable, regardless of age or gender.  Despite creating a princess as its lead, Pixar isn’t actually breaking into Disney Animation Studios terrain, as Merida (voiced by Kelly Macdonald) is neither in need of rescue by a prince, nor faced with any fairy-tale foes.  Instead Brave, sees her lash out against plans for a parentally arranged marriage.  The consequences of her actions not only help her to mature and gain perspective, but also allow Merida to come into her own within her family.  This is complicated character development that Chapman and her writing/directing team of Mark Andrews and Steve Purcell deftly weave into the action.  The fractious relationship between Merida and her mother, Elinor (Emma Thompson), is tenderly balanced, as both mother and daughter are portrayed as fallible but well-intentioned.  While it may have taken Pixar too long to create a heroic female lead, they have certainly ensured that it has now been done properly.  Merida may be the second arrow-slinging heroine to hit the silver screen this year, but in a genre where female characters are either frilly or forgettable, Brave’s fierce, fiery-haired lass is in a league of her own.

Lovely Molly, hideous mess

Thirteen years ago, Eduardo Sánchez brought The Blair Witch Project to screens worldwide and created a new genre of film that is still limping on in 2012.  His latest, Lovely Molly, carries elements of his debut, but will be as easily forgotten as every other film he has produced since.  Lovely Molly’s concept of a woman battling her demons, literally and figuratively is a promising one, but in the hands of Sánchez and co-writer Jamie Nash, it’s nothing but an ugly mess.

Gretchen Lodge is the titular Molly, a newlywed recovering heroin addict, who makes the classic mistake of moving into the old-family-home-where-lots-of-bad-shit-happened™ with her truck drivin’ hubby, Tim (Johnny Lewis).  For no particular reason, Molls often likes to go for a wander with her camcorder.   This allows Sánchez to remind everyone how he made his name, by inserting the found footage of her exploration and peep sessions at various points throughout Lovely Molly.  Most of it makes little sense and adds nothing but extra creepiness, for the sheer sake of it.  The film actually starts off on a steady foot, employing typical horror tropes such as the droning score with deep, rumbling bass and ensuring everything creaks sufficiently to create a tense atmosphere.  However, once Molly begins to lose her grip on reality, Sánchez loses his grip on his narrative and this haunted house flick becomes a house of horrid.

Stellan Skarsgård discusses King of Devil’s Island and what lies ahead for him

I recently had a chance to sit down with international film star Stellan Skarsgård, who was in town to promote his new film King of Devil’s Island.  Hot off the massive success of The Avengers, we talked his new film, where he sees his career going from here and touched on a couple upcoming projects, including Thor 2.

The whole experience was only moderately terrifying for my first proper interview.  Luckily, Stellan was a terrifically friendly subject and I’m thrilled to say he was my first interview.  Be sure to check out my review of King of Devil’s Island.

The Brooklyn Brothers Beat the Best defies expectations

The world has changed a lot over the past five years.  International economic woes can be felt everywhere and it’s easy to see how the landscape of our future has been distorted.  With less investment and fewer companies willing to take a chance on unproven commodities, big dreams now seem even more unlikely.  How, then, does a society respond to such an outlook?  One way is to alter its perspective.  Ryan O’Nan’s directorial debut The Brooklyn Brothers Beat the Best illustrates just such a concept taking hold.  On the surface, it’s an enjoyable indie road trip flick, but the moral of the story is reflective of the road western society is currently on.

In centring the film on a character attempting to break into the music industry, O’Nan has obviously played to his own strengths.  On top of writing the story, O’Nan also wrote many of the songs he performs as Alex in The Brooklyn Brothers Beat the Best.  However, the music business is a perfect example of the toll economic struggles (and, of course, the internet) have taken on once thriving, vital industries.  With fewer record labels, a shrinking market for albums and music retailers, the career that Alex dreams of has never been more of a long shot.  Saddled with a job he hates and recently dumped by the woman he loves, Alex doesn’t have a lot going for him.  Yet, he’s not cut of the stereotypical slacker cloth.  He clearly has both talent and ambition, but said ambition isn’t to just slog through a white-collar existence.  Sure, Alex may perform for mentally disabled young adults in a pink moose outfit and his shotgun-collaboration with Jim (Michael Weston via Charlie Day) is fairly far-fetched, but the offbeat nuisances of The Brooklyn Brothers Beat the Best sit well alongside a message that says this- right here, right now- is it.

Shining performances brighten the grim King of Devil’s Island

Norwegian thriller King of Devil’s Island tells the true story of the country’s Bastøy Island, once utilised as a “home” for maladjusted young men.  Directed by Marius Holst, the correctional institution’s harsh conditions are the focus of the film that depicts the level of brutality and oppression that pushed many to their breaking points.  Perpetually bleak, but buoyed by stirring and strong performances from its predominately youthful cast, King of Devil’s Island is yet another solid Scandinavian import to hit the UK over the past few years.

Carrying the film is Benjamin Helstad as the rebellious Erling, or C-19 as he is branded by the institution. Little is revealed about Erling’s past as King of Devil’s Island is not about the boys personally; it’s not about why they’ve been sent there or their family ties.  Instead it’s about their identities being wiped away, as Bastøy’s rigid regimen aims to remould the trouble youngsters into upstanding Christians.  Responsible for the facility is Stellen Skarsgård’s Governor Bestyreren, a strict but seemingly fair man of principle.  However, it quickly becomes evident that like many men with unchecked power, Bestyreren is too quick to turn a blind eye to the horrors committed by those he is responsible for.  In charge of C-19’s barrack is housefather Bråthen (chillingly portrayed by Kristoffer Joner); a stern, cold man reliant on intimidation, as he claims to see and hear everything.  It is his cruel, destructive nature that drives Erling to light the flames of revolt beneath his fellow inmates.  Bastøy Island may be so isolated that “escape is nothing but a childish fantasy” but as King of Devil’s Island illustrates, wherever there is oppression, there will be those fighting to overthrow it, no matter how slight the odds.

Never Sorry paints Ai Weiwei by the numbers

Over the past few years, Chinese artist Ai Weiwei has become an international figure.  Though a significant part of that is due to his clever and challenging artwork (including the design of Beijing’s Olympic “Bird’s Nest” stadium), his prominence has largely grown thanks to his political activism that has seen him become a target of the communist Chinese government.  Alison Klayman’s debut film, Ai Weiwei: Never Sorry is a surface-scratching look at the life of a man who has created some big waves in his home country and has become a worldwide figure for freedom.  However, it is on that account that Ai deserves something more grand and daring than this introductory documentary.

Ai Weiwei: Never Sorry is out 10 August in the UK

What Klayman has produced with Never Sorry is something of an Ai Weiwei 101 beginner’s course.  It provides all the basic, need-to-know information of this fascinating and culturally relevant icon without ever diving too deeply into the larger issues around him or the relationships that form his world.  The audience is given glimpses of several of Ai’s 40-odd felines and is presented with an equally fluffy portrayal of the brave dissident.  The artist’s involvement in the aftermath of the Sichuan earthquake in 2008 is detailed, as is the impact  Ai’s efforts (to reveal the names and numbers of the killed children) had on the people and officials of China.  From there the documentary bounces around, as it sees Ai being assaulted by a police officer, followed by repercussions including brain surgery and a lawsuit.  Preparation for his 2009 show in Munich entitled “So Sorry” is also laid out, focusing primarily on the exhibition’s façade where Ai used thousands of backpacks to create a tribute to the lost children of Sichuan’s earthquake.  Never Sorry then jumps back to his years spent in New York City in the 1980s and early 90s. All of this in interesting enough, but there is precious little that reveals what might make Ai tick.

The Imposter is a genuine cinematic triumph

“No one ever gave a damn about me… I was reborn.”

So explains the man at the centre of one of the most bizarre cases of identity theft to ever occur; as superbly documented and re-enacted in documentarian Bart Layton’s debut feature-length film The Imposter.  This story of a Frenchman who passed himself off as a Texas family’s missing teenage son in 1997 presents a series of events too unbelievable for fiction.  In The Imposter, the astounding tale is recounted by, not only the victimised family, but the actual imposter himself, Frédéric Bourdin, in amazing detail.  What is revealed is a real-life thriller as gripping as any film to hit the big screen this year.

The scene is set by a brief explanation of how 13-year old Nicholas Barclay went missing on his way home late one night in 1994.  Grainy home video footage provides glimpses of the boy who, it had seemed at the time, would miraculously be found in Spain three years later.  The audacious Bourdin narrates his side of the story, as actors portray the events he describes.  Carey Gibson, Nicholas’ older sister, provides her take on the matter, as the family member most responsible for the return of “Nicholas” to the US.  Interviews with other relatives- including his mother, an FBI special agent, a US consul, and a private detective are all expertly weaved into the fabric of Layton’s documentary.  The level of candour exhibited by Bourdin is simply astonishing, as the man exposes himself to be a textbook psychopath.  However, what Bourdin may lack in remorse, he makes up for in shameless honesty, fully explaining his motivations and thought processes behind his cruel ruse.  While The Imposter is very much about how this one, deeply disturbed man managed to pull off such a remarkable con, a jaw-dropping twist to this already shocking story awaits.

The Lorax is truffula-rific

In 1971 Theodor Seuss Geisel published The Lorax, one of his many rhyming children’s books.  In it he highlighted the destructive impact on the environment brought on by the greed of mankind.  Now, over 40 years later, Dr Suess’ warning has been adapted into a full-length animated feature and the message rings louder than ever before.  Produced by Illumination Entertainment, The Lorax feels familiar as it bears stylistic resemblances to its sister films, such as Despicable Me and Hop, but also largely due to being visually faithful to Dr Seuss’ creations.

The Lorax arrives in the UK on 27 July

True to the book, The Lorax frequently plays out via flashbacks, but Ken Daurio and Cinco Paul’s screenplay does an excellent job of, not only fleshing out the short story, but adding elements in keeping with the spirit of Seuss’ tree-hugging ways.  In their take, the story is set in Thneedville, a city made entirely of plastic, where fresh air is sold by the bottle and actual trees are no more than a distant memory.  An added love-story provides the motivation for Ted (voiced by Zac Efron) to seek out the Once-ler (Ed Helms) in hope of finding a tree to win over his crush, Audrey (Taylor Swift).  His visits occur over several days, in between which Ted is faced by opposition from the head of O’Hare Air (Rob Wriggle) for whom real trees pose a threat to his fresh air business.  It’s a fantastic addition that echoes the original tale of the Once-ler’s thneeds whilst lampooning the pointlessness of commodities like bottled water and the detrimental effect such products have on the environment.

Where Do We Go Now? cleverly delivers an optimistic message

Lebanese filmmaker Nadine Labaki follows up her debut Caramel with Where Do We Go Now?  As with her first feature, Labaki again notches up a cinematic trifecta, co-writing the script she would go on to direct and star in.  With an odd mix of comedy and drama, with a touch of musical flare thrown in for flavour, Where Do We Go Now? highlights the strife inflamed by religion in a small Lebanese village.  Labaki makes a powerful, if uneven, statement about the absurdity of the divisions faith can create within an otherwise close-knit community.

Where Do We Go Now? finds its way to the UK 22 June

Beginning on a sombre note, Where Do We Go Now? quickly moves on to introduce the large cast of characters.  At the forefront is Amale (Labaki) and Rabih (Julian Farhat); a Christian and Muslim respectively who dream of one day being together.  Their relationship is the trigger for the first musical number in which the would-be lovers share a duet.  The other central figure is Claude Baz Moussawbaa’s Takla, a mother who epitomises the lengths the women of the village will go to in order to prevent tensions from rising along the religious divide.  Though it takes a bit for the film to find its stride, for much of Where Do We Go Now? the village is like a powder keg waiting to explode, as incidents ignite intense responses from the men.  It’s a troubling reminder of the power ideology holds over otherwise reasonable people.