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Asylum
Starring Natasha Richardson, Ian McKellen, Hugh Bonneville and Marton Csokas.
Directed by David Mackenzie.
Written by Patrick Marber.
Produced by Laurie Borg, David E. Allen and Mace Neufeld.
Running time: 90 min.
The wife of a newly appointed Deputy Superintendent at a high-security hospital for the criminally insane joins her husband
and son to live on the grounds of the institution in this psychological melodrama set in the 1950s.
Forensic psychologist Max Raphael (Hugh Bonneville), a highly ambitious man who operates strictly by the book professionally,
socially and emotionally - is the very spirit of propriety. As superior and dull as he is smug, he exudes confidence in the
boardroom as he issues his professional opinions, and in the bedroom, where he exacts reluctant conformity from his wife Stella
(Natasha Richardson), who exhibits deeply withheld free-spiritedness and sensuality.
As she puffs on a rebellious cigarette amongst the other staff wives who are utterly devoid of adventure in mind or spirit,
she's loathe to fit into their carefully prescribed regimen. The atmosphere borders on suffocation for her. Following his
wimpish pleadings, she makes the effort and agrees to responsibility for a dish in the upcoming pot luck dinner, as a respite
from the abject dreariness of this new existence.
Then along comes inmate Edgar Stark - a gardener and handy man. Edgar is a patient under the close scrutiny of Dr. Peter
Cleve (Ian McKellan) who had been waiting patiently in line for the post that Max now occupies. A scheming and inventively
devious individual, he's none too happy about the turn of events in the institution's lack of appreciation for his exemplary
service and his qualifications for the job - decided by head Superintendent Jack Straffen (Joss Ackland).
Stark however is intelligent and cleverly manipulative too. When he pleads with Cleve for his release, the revelation
is made as to why such an intelligent and well behaved patient such as him will probably never see the light of freedom -
due to the savage murder of his wife in a jealous rage. Inevitably, Stella crosses his path and a torrid affair of steamy
passion ensues, with the overwrought lust and fornicatory dynamics met well by an outstanding cast. Ian McKellen, always superb
in everything he does, is masterful in this contained, morbid role. Czokas is also terrific - as broodingly attractive as
he is mad.
Joss Ackland is surprisingly enjoyable and consistent as the head man and Hugh Bonneville is more than merely functional
in a tricky role that demands as much pride swallowing as bluster. But ultimately it's Natasha Richardson picture. This is
her quintessential starring role and she is quite simply mesmerising.
David Mackenzie ("Young Adam") directs beautifully from Patrick Marber's screenplay based on the novel by Patrick
McGrath.
The Island
Cast & Credits
Lincoln Six Echo: Ewan McGregor
Jordan Two Delta: Scarlett Johansson
Albert Laurent: Djimon Hounsou
Merrick: Sean Bean
Starkweather: Michael Clarke Duncan
Jones Three Echo: Ethan Phillip
Carnes: Max Baker
McCord: Steve Buscemi
Directed by Michael Bay
Written by Caspian Tredwell-Owen, Alex Kurtzman and Roberto Orci. Based on a story by Tredwell-Owen.
Running time: 136 minutes. Rated 12a (UK)
The Island is a futuristic psychodrama with action, pacing, good acting, and an intriguing premise that can be taken as a
cautionary tale. I for one don't agree with most critics (armchair and professional) that Director Michael Bay ("Armageddon,"
"Pearl Harbor") cares more about mind-numbing narratives, explosions and chases than about characterisation. That
charge doesn't reflect the film I saw - or perhaps I just imagined that I was enjoying it?
In the mid-21st century Ewan McGregor and Scarlett Johansson take on the i.d.s of Lincoln Six-Echo (McGregor) and Jordan
Two Delta (clones of high priced designer Tom Lincoln and supermodel Sarah Jordan respectively. These are their DNA contributors
who live back above ground) and both LSE and JTD are "agnates" or "birthed" residents of a subterranean
facility which, according to their imprinted memories, is a place that protects them from a dreadful "contamination"
and which provides them with the hope of someday winning the ultimate prize of going to the utopian "Island." They
conceive it as the promised land but winning a trip to it means parts of them are needed for harvesting.
Reminiscent of several sci-fi films, not the least of which is "The Truman Show" with elements of "I, Robot"
and "The Minority Report" thrown in, Bay strongly elaborates on the concept of cloning for commercial purposes.
The intricacy of discovering their true status as brainwashed standby replicants makes for some high tension escape and pursuit
choreography with Michael Bay's no-stunt-holds-barred designs.
Sean Bean finally scores some credibility on the big screen as the arch-manager of the commercial conspiracy. Djimon Honsou
is his usual majestic self as the relentless but ultimately empathetic pursuer. The production design (Nigel Phelps), cinematography
(Mauro Fiore) and action stuntwork are all exemplary in support of a fine level of confident and charismatic acting by McGregor,
a good turn by Johansson (and a terrific cameo by the ridiculously brilliant Steve Buscemi) - who enveloped me into their
discovery and desperation in what really is a very well paced, hugely entertaining, action-packed and imaginative piece of
work.
Me And You And Everyone We Know
Directed By: Miranda July
Starring: Miranda July, John Hawkes, Miles Thompson, Brandon Ratcliff, Carlie Westerman, Natasha Slayton, Najarra Townsend,
Hector Elias
(Running time: 90 mins Cert 15 UK)
Performance artist Miranda July's portfolio to date is packed full of short films, and it shows here. This, her feature-length
debut is loaded with arresting images, moments, and single lines of dialogue.
For example - a young girl dreamily inhales the chemical smell of a newly opened shower curtain, a goldfish's life hangs
in the balance, a man explains his badly burned hand - "I was trying to save my life and it didn't work." These
moments succeed, on a miniature level, in illuminating the plight of people trying and usually failing to connect. It's in
the maximum arena, alas, where Me and You and Everyone We Know gets murkier.
The film (which received top awards at Sundance and Cannes) opens with July, as a struggling performance artist named
Christine, narrating a new work. It's clear from her various video pieces that Christine is fixated on love, and she thinks
she may have found it in Richard (Hawkes), a scruffy, newly divorced single dad and shoe salesman. Richard is raising his
boys, 13-year-old Peter (Thompson) and 6-year-old Robby (Ratcliff), mostly alone; the boys, in turn, are testing out their
sexuality and need for nurturing in startling ways.
There are several satellite stories - a pair of teenage girls flirt with a middle-aged neighbour, a 10-year-old girl with
a home-appliance fetish is building up her own storage of items for her future life as a wife. It's a testament to July's
generosity that she allows her own character to take a backseat to these stories. In fact, Christine's story proves the most
inessential in this ensemble piece and the most cloying, too (especially in its sickly-sweet involvement with an elderly couple
in love). July indulges her character with a sort of hyperpoeticism; that, coupled with the film's plunking xylophone score,
announce with a sledgehammer's subtlety that you are witnessing something terribly sensitive and hugely eccentric.
At one point, Christine hops into Richard's car - he's practically a stranger - and turns on her dysfunctional charm,
only for him to turn to her and ask with real alarm, "What are you doing in my car?" It's a bracing slap of a moment,
a welcome blast of cold water on the overbearing quirkiness of Christine - and maybe July herself. The director sees the world
in a most unexpected way, and it's a shame that Me and You's preciousness sometimes overwhelms that unique vision.
What does withstand the precious assault are the devastating performances from Hawkes (Deadwood) and the young Thompson
and Ratcliff. These three feel resolutely human, in their pain, confusion, and good intentions that invariably go wrong. If
you cut any one of them, there's no doubt they'd bleed blood - but cut Christine and maybe July and I fear something terribly
sensitive, dreadfully eccentric might spring from her veins instead.
Green Street
Cast: Elijah Wood, Charlie Hunnam, Claire Forlani, Marc Warren, Leo Gregory, Henry Goodman, Geoff Bell, Rafe Spall, Kieran
Bew, Ross McCall, Francis Pope, Christopher Hehir
Writer/Producer/Director: Lexi Alexander
Elijah Wood plays Matt Buckner, an award-winning journalism student at Harvard University USA - who takes the blame when a
stash is discovered in their shared room - for his drug-dealing and wealthy roommate and finds himself expelled from this
illustrious environment. His estranged, journalist father is out of the country on assignment so Buckner heads to London to
visit his sister Shannon (Claire Forlani) and her English husband Steve (Marc Warren - best known for BBC's "Hustle").
Steve convinces his loudmouth yobbo brother Pete (Charlie Hunnam) to take Matt to a West Ham Utd football match with his
close group of friends - leaving naive Matt to quickly become exposed to the world of football firms, and the adherent violence
that surrounds them.
"West Ham's football is mediocre, but our firm's topnotch and everyone knows it" explains Pete. "It's really
about reputation - humiliating the other mob by beating them in a ruck or doing things that other firms get to hear about".
Within the firm as Matt finds real friendship and a sense of belonging - he fights to defend himself and his mates, using
resentment over his expulsion as motivation. But soon he comes to enjoy the highs from these battles and before long actually
attains celebrity status for his heroics in defending his new cronies.
With this, her feature debut, Lexi Alexander has written, directed and produced a powerful piece showing a tradition that
embodies trust and friendship, overshadows any sense of morality against violence. "Standing strong next to your friend
when you're facing thirty guys who want to punch yur face in, that's love" says Alexander. As a teenager while growing
up in Germany and becoming a World Karate and Kickboxing Champion, many of her karate students were members of a similar football
firm and eventually, she joined them a highly unusual move for a girl - and she has based "Green Street" on those
experiences.
Wood's performance as the unlikely Yank who helps lead the West Ham Firm to greatness does take some swallowing however
- on a physical and demeanour level he's hardly grade 1 Ray Winstone.
Hunnam's portrayal of Pete, however, is extraordinary. At first, his bravado is intimidating - but as is later revealed,
his kind nature shows through as he coaches a young boys' football team. He becomes Matt's best friend and protector - not
just from opposing firms, but also from a resentful member of their own outfit. As leader, Pete is the heart and soul of the
firm and Hunnam brings a refreshing mix of power and vulnerability to a complex character.
It's a mixed bag of a movie really, with undoubted elemental influences from Alan Clarke's seminal "The Firm",
shades of Shane Meadows' recent output and 2004's "The Football Factory" but it does have some superb and chilling
characterisations. Nevertheless certain sections of the narrative are cringeworthy in both their predictability and plausability
- but as a debut - on balance, it's a fine achievement.
The Skeleton Key
Director: Iain Softley
Writer: Ehren Kruger
Cast: Kate Hudson, Gena Rowlands, John Hurt, Peter Sarsgaard, Joy Bryan
Kate Hudson is Caroline, a live-in nurse hired to care for an elderly woman's (Gena Rowlands) ailing husband (John Hurt) in
their home, a foreboding and decrepit mansion in the Louisiana delta. Intrigued by the enigmatic couple, their mysterious
and secretive ways and their rambling house, Caroline begins to explore the old mansion. Armed with a skeleton key that unlocks
every door, she discovers a hidden attic room that holds a deadly and terrifying secret.
An isolated house on the banks of a New Orleans swamp where doors slam of their own accord; nervous rumours of murderous
black magic rituals and a blonde protagonist who has to run about a lot. The Skeleton Key is a fairly functional supernatural
thriller that unfurls unpredictably, with a tense macabre tone, performances that are uniformly finely pitched, and a nifty
twist in the climax.
Kate Hudson brings a surprisingly committed sensibility to her role as Caroline Ellis, a hospice worker determined to
make enough money to fund her nursing school course, after failing to care for her own father through his death. She takes
a job as a live-in caretaker for the ageing owners of an isolated plantation house - a man rendered nearly lifeless by a stroke
(Ben - John Hurt in mute but as always mesmerising form) and his sister (Violet - the excellent Gena Rowlands) on the recommendation
of their lawyer. When Violet gives Caroline the house's skeleton key, she begins to discover things that are best left locked
away.
At the film's core is a particular type of witchcraft known as Hoodoo - a secular American/European dark magic - Caroline's
friend tells her that the Deep South has a history of it, and Caroline discovers signs of the magic in the plantation house
attic, in a nearby garage, and even in the back of the town's launderette. She will also find out exactly what cruelty Hoodoo
can inflict.
Both British director Iain Softley (K-PAX/Hackers) and writer Ehren Kruger (Scream 3/The Ring) have done a reasonable
job here. The Skeleton Key does not pulse with predictable build-up/ shock deliveries but it sets a tone of realism and imparts
into that supernatural undertones, the way Polanski did with Rosemary's Baby. The setting is precise but not overly stylised,
and even the usually effervescent Hudson has reigned herself in to imbue her character with an accessible maturity. Better
still, films like this, and British director Neil Marshall's recent subterranean nightmare The Descent, may signal a departure
from formulaic genre rehashes and a move into believably nerve-jangling and inescapable edginess.
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