We’ve covered all these films at least once, so we’re gonna try and keep it brief (plus, to be frank, we’re a few days behind on our reviews), but Monday at the LFF saw showings of Jane Campion’s comeback movie “Bright Star,” “Micmacs,” from “Amelie” helmer Jean-Pierre Jeunet, and Steven Soderbergh’s “The Informant.”
“The Informant” opened in the States almost two months ago, so it’s old news for most of you, but we fall right between our most positive review of the movie, and the more guarded verdict of our editor-in-chief: the film plays like gangbusters, with a hugely enjoyable central performance from Matt Damon (who really does get better and better with each role), and Soderbergh’s unusual casting choices pay off: the highlights in a very strong ensemble include Melanie Lynskey, also great in “Up in the Air,” Scott Bakula and Joel McHale. Some critics have lamented the choice to make the film a comedy, rather than a straight drama, but in our opinion, it packs a bit more of a punch in its final act than some critics have acknowledged, and, while it doesn’t rank with the likes of “Out of Sight,” it’s perhaps Soderbergh’s most generally satisfying work since the first “Ocean’s Eleven.” (We love “Che,” but it’s not for everyone…) But, being a conscientious movie lover, you know all this already… [A-]
Jean-Pierre Jeunet’s “Micmacs,” feels like a strangely Soderberghian picture — more than any other movie, it reminded us of the “Ocean’s” franchise. Having moved towards weightier territory a few years back with “A Very Long Engagement” to mixed results (we’re actually fond of that movie, and think it’s underrated), Jeunet has gone in the other direction this time. The movie tells the story of a video clerk (played by French superstar Dany Boon), who is struck by a stray bullet during a drive-by shooting, and teams with an oddball crew to take down a pair of arms companies. Despite flirting with more serious subject matter, the movie ultimately plays out as a blend of “Ocean’s Eleven” and the early sections of “Amelie,” particularly when Audrey Tautou takes revenge on the megalomanical greengrocer.
Jeunet isn’t staying completely still, creatively — much of the film relies on near-silent comedy, reminiscent of Charlie Chaplin, and particularly Jacques Tati movies such as “Mr. Hulot’s Holiday.” It’s perhaps the director’s most accessible work to date — it proved a real crowd-pleaser at the screening we attended, and, with the right marketing, should prove a sizeable cross-over hit when Sony Pictures Classics releases it next year. The visuals are, as ever, gorgeous (although we’d like the director to break out of his trademark red-and-green color scheme), and it’s perfectly enjoyable, despite a few slip ups (the romantic lead, a contortionist, is rather miscast, and simply doesn’t have the acting chops to play with the rest of the cast), but we hoped for something more substantial from Jeunet, particularly considering the more serious subject matter — the flippant nature in which it’s dealt is, frankly, a little distasteful. [B-]
We had very high hopes for “Bright Star,” and for the most part, they were fulfilled. It undoubtedly provides breakout roles for Abbie Cornish and Ben Whishaw, who both fulfill the promise they’ve held in the last few years — Cornish surpasses her excellent performance in “Somersault,” as Keats’ lover Fanny Brawne* , and Whishaw, who’s always seemed somewhat awkward on the big screen, despite some excellent stage work, is a revelation, grounding his portrayal of poet John Keats beautifully. And it’s certainly the best film of director Jane Campion’s career. When it works, it carries a sensuality and a delicacy that keeps it apart from most of its contemporaries. As a film about an artist, it does absolute justice to Keats’ poetry (he’s our favorite of the romantic poets, so we’re pretty harsh judges), using the work like some filmmakers use pop songs, but never making the poet out to be an untouchable genius — it’s honest and shrewd about the artistic process.
The film seems flushed with the promise of youth — indeed, many of Campion’s collaborators, including 25 year old composer Mark Bradshaw, and DoP Greig Fraser, are making their feature debuts, but contribute world-class work. However, as far as we were concerned, it doesn’t quite hold together: the narrative starts to go around in circles at about the halfway mark, and becomes a sort of “Twilight” for English Literature graduates – lots of moping and sighing, without a great deal of actual drama. Some of the supporting performances are either underwritten (Kerry Fox has almost nothing to play with as Fanny Brawne’s mother, and Thomas Sangster (“Love Actually”) has barely any lines), or miscast — Paul Schneider gives 75% of a tremendous performance, but is let down by a deeply wavering Scottish accent.
All in all, we liked “Bright Star” a great deal, and it packs a real emotional punch. With a little tightening in the second act, it could have been a classic, it’s as vibrant and alive a costume drama as we’ve seen since Joe Wright’s undervalued “Pride and Prejudice” and the E-I-C was a huge fan when he saw it in Cannes, so it’s worth seeing either way. [B+]
* Full disclosure: an ex-girlfriend, and good friend, of this writer is the great-great-great-grandaughter of Fanny Brawne, and served as a consultant on the movie .