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.

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.

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.

Politics and romance prove a dangerous mix in A Royal Affair

A Royal Affair tells the story of King Christian VII’s bizarre relationship between him, his queen and his personal physician and the impact it made on 18^th century Denmark.  Though Nikolaj Arcel’s film is a dramatized account presented from Queen Caroline Mathilde’s perspective, the events depicted onscreen are heavily based on true accounts.  Fresh off a successful run at the Berlin International Film Festival, A Royal Affair arrives in the UK promising to be one of 2012’s finest foreign language features.

A Royal Affair is in UK cinemas 15 June

The film takes the form as a letter penned by the exiled Queen to her two young children whom she is convinced she will never see again.  From there A Royal Affair introduces the young British royal Caroline (Alicia Vikander) as she crosses over to the continent to meet her new husband, the King of Denmark.  Mikkel Boe Følsgaard brilliantly fills the mad monarch’s shoes.  His uncontrollable paranoia and philandering eventually require the presence of a dedicated doctor, which is where Mads Mikkelsen steps in as German doctor and anonymous Enlightenment promoter Johann Struensee.  The three leads are terrific in their portrayals, but none more so than Følsgaard, the well-deserved best actor winner at Berlin, whose child-like king is manipulated by all closest to him.  As he lifts Christian to manic highs and wallows in dejected lows, Følsgaard’s performance is powerfully authentic, making it difficult to hate the deluded King, yet effortlessly managing to evoke unreserved pity towards him.  The supporting players are also worthy of note, especially David Dencik (most memorable as Esterhase in Tinker Tailor Soldier Spy) as the scheming Ove Høegh-Guldberg.  Illustrating the struggles of the time, A Royal Affair is not only a fascinating historical account, but also serves as an allegory for our own cash-strapped and troubled contemporary times.  Issues of taxation, propaganda and resentment from the masses are no less relevant today than they were 250 years ago.

Chernobyl Diaries trades scares for despair

2012 is a busy year for horror writer/director Oren Peli.  Having already debuted his horror drama series “The River” on the ABC network earlier this year, his first of three film projects is about to hit UK cinemas.  The brain behind the Paranormal Activity series has made some new creative strides prior to returning for a fourth instalment of the popular found footage franchise.  Peli has penned Chernobyl Diaries and handed it over to director Brad Parker for his first venture behind the camera.  While thankfully leaving found footage gimmick behind, Peli runs with what sounds like an intriguing idea on paper, only to see it fall victim to its own premise.

Chernobyl Diaries presents six traveling twenty-somethings about to take an “extreme” day tour of Prypiat, an abandoned town within the Chernobyl exclusion zone.  The initial “two-hour” exploration makes for some fascinating viewing as the decaying, overgrown buildings provide a serenely haunting environment.  A first hint of trouble quickly leads to a much bigger problem that leaves the tour group stranded in the radioactive town.  It is at this point where matters fall apart for the characters and for Chernobyl Diaries as a horror film.  Despite making a fair stab at acquainting the audience with his characters, Peli digs a hole so deep for them that any dramatic tension is nullified by the sheer insurmountability of the scenario they find themselves in.  As a result, instead of being thrilling or nerve-racking Chernobyl Diaries becomes a rather depressing affair, as suspense is replaced by inevitability.

Pattinson raises the stakes, but Cosmopolis confounds

David Cronenberg’s latest foray into the unusual takes the form of the Robert Pattinson-ful Cosmopolis.  Based on the Don DeLillo novel of the same name, Cosmopolis is likely to garner a similar mixed response from critics and audience alike.  Pattinson himself has stated that he has “no idea” what the film is about.  That may not bode well for R-Patz’ fan base, but even those less sparkle-vampire inclined will struggle to make sense of it all.

Cosmopolis will may you say “Huh. Okay.” from 15 June in the UK

There are a few things that may be helpful to know about Cosmopolis going in.  Firstly, it is primarily set in a limousine.  The action, as it were, occasionally moves to a dining establishment of one sort or another, but prepare to get quite familiar with the interior of one pimped out ride.  Secondly, it is extremely dialogue heavy and full of stock market jargon that makes for exceptionally dry viewing.  In fact, during the opening act it sounds as if the characters are speaking in riddles.  As such, Cosmopolis is tough to get through, at least initially.  Cronenberg has explained that what is being said isn’t what is important, but rather the interest Eric (Pattinson) takes in it.  The final thing to keep in mind about Cosmopolis is regardless of how offbeat the film and his character are, Pattinson does a terrific job in bringing the young billionaire asset manager to life.

The Five-Year Engagement feels a year too long

After their success with The Muppets Nicolas Stoller and Jason Segel return to their old profane tricks in illustrating the struggles faced by two love-struck San Franciscans in The Five-Year Engagement.  This latest Stoller/Segel collaboration sees the latter teamed up with Emily Blunt as an engaged couple waiting for the pieces to fall into place over the course of five years.  There are a fair few laughs to be had, but by the time the film winds down, everyone is feeling those years, the audience included.

The Five-Year Engagement begins 22 June in the UK

The pairing of Segel and Blunt is strong casting decision as the actors have a genuine likability to them, making it easy to become invested in their romance.  As the marriage plans are repeatedly delayed and the couple migrate from the sunny surrounds of the Bay Area to the chilly bleakness of Michigan, there’s a lot of amusement to be found in the deterioration of Segel’s formerly successful chef, Tom.  Driven mad by the hopelessness of his new environment, Tom soon resorts to hunting whilst sporting disturbing facial hair and hideously hilarious knit-wear.  On the flipside, Blunt’s Violet is distracted by her career advancements under the watchful eye of her new boss, Professor Winton Childs (the ever smarmy Rhys Ifans, not quite yet mutating from academic to reptile).  Amid the exaggeration of the situation, The Five-Year Engagement offers a serious look at the kinds of issues that can drive a wedge between those in otherwise happy relationships.

Friends with Kids wastes time and talent

It would be fair to say that Jennifer Westfeldt’s directorial debut Friends with Kids has a sizable Bridesmaids problem.  Despite the two films being totally different animals, the comparisons are unavoidable.  A romantic comedy penned by a female? Check. Stars Kristen Wiig, Maya Rudolph, Chris O’Dowd and Jon Hamm? Check, check, check and impossibly handsome check.  With even a similar release date to the lauded and loved comedic smash of 2011, it is impossible to not see this film, in spirit if nothing else, as a follow-up.  Friends with Kids would have struggled to stack up to the reception Bridesmaids received under any circumstances, but Westfeldt has put together a movie that fails spectacularly on its own terms.

Friends with Kids should be neglected from 29 June in the UK

Of course, having seen how terrific the aforementioned Bridesmaids stars can be together onscreen just a year ago underscores how dreadfully wasted they are in Friends with Kids; yet anyone familiar with Hamm, Wiig or O’Dowd otherwise will be able to see how criminally underutilised they are in Westfeldt’s film.  Rather than allowing them the spotlight, the focus is on the cast’s least engaging and, let’s call a spade a spade here, least talented members; Adam Scott (known best as Ben on NBC’s “Parks and Recreation”) is commitment-phobe Jason who is best friends with the unlucky-in-love Julie, played by Westfeldt herself.  The duo, who decide to platonically have a child together for no reason beyond the fact that people are just meant to have children, would likely struggle to carry a film without the distraction of more enthralling actors on the side-lines.  However, watching Scott and especially Westfeldt trudge through the exceptionally unfunny material, whilst the likes of Wiig and Hamm literally sit next to them staring into their drinks, is nothing short of aggravating.