Monthly Archives: April 2015

Review – The Falling (15) [2015]

The Falling - title banner

Star Rating: 4/5

Director:

  • Carol Morley – The Alcohol Years, Edge, Dreams Of A Life

Cast:

  • Maisie Williams – Game of Thrones, Heatsroke, The Devil And The Deep Blue Sea
  • Maxine Peake – Shameless, Edge, The Theory Of Everything, Hamlet
  • Florence Pugh
  • Anna Burnett – Ripper Street
  • Greta Scacchi – Baltic Storm, Ways To Live Forever, AD The Bible Continues, War and Peace
  • Morfydd Clark – Madame Bovary, The Call Up, Love & Friendship
  • Joe Cole – Now Is Good, A Long Way Down, Pressure, Callow In Their Eyes
  • Rose Caton – Last Knights
  • Monica Dolan – Eye In The Sky
  • Ellie Bamber – Nocturnal Animals

Music Composer:

  • Tracy Thorn

Adolescence is a tricky period in one’s life. One experiences changes in the body while having to deal with the stresses of trying to achieve good grades at school and appeasing one’s peers who may (or may not) be at a more advanced stage in their hormonal growth. Carol Morley’s The Falling deals with some of the issues that many girls go through as part of their adolescence.

Best friends, Abby (Florence Pugh) and Lydia (Maisie Williams) lying on the grass in their school uniforms, drawing a tree.

Best friends, Abby (Florence Pugh) and Lydia (Maisie Williams) lying on the grass in their school uniforms, drawing a tree for their art class.

The film is based in a village in England in 1969 and centres round Lydia (Maisie Williams). She lives with her agoraphobic mother (Maxine Peake) and her ill-educated brother (Joe Cole) in a small, rundown house. While Lydia’s life is not great, she has a good group of friends at a private, all-girls school. One of whom, Abby (Florence Pugh), is exploring her sexuality.

However, as Lydia is coming to terms with her developing body, she begins fainting inexplicitly. Soon, Lydia’s friends start fainting too. But the school administration does not take the matter seriously, not believing that it is an epidemic. Lydia tries her hardest to convince the administration that something is wrong with her and her friends.

The Falling is an innovative and interesting movie that has been well directed by Carol Morley. On a small budget, she has put together a solid film with a fine balance of charm and sincerity. Devoid of special-effects en masse, Morley relies on cinematography to create the wonderful ambiance of a repressive all-girls high school in a small, provincial area, with some odd sorts of people (and behaviour) that can be the norm in such communities in 1960s England or even today.

Eileen (Maxine Peake) smoking. She is Lydia's hair-dresser mother who suffers from Agorophobia.

Eileen (Maxine Peake) smoking. She is Lydia’s hair-dresser mother who suffers from Agorophobia.

Other elements of The Falling that work in Morley’s favour are the dialogue and the acting. Both are very good, honest and plausible. One can imagine (in the main) adolescent girls, and the adults that surround them, behaving in the manner that the film portrays. In the lead role, Maisie Williams is terrific and captivating to watch. Like Arya Stark, her character in Game of Thrones, her character in The Falling is strong-willed and tenacious (if more vulnerable, messed up and curious). But Williams, here, gives a more rounded performance as Lydia is more vulnerable, messed up and curious than Arya Stark is ever likely to be.

The rest of the cast are not given the time or detail afforded to Lydia/Williams’s character. Nonetheless, they all play their roles strongly and with a genuine naturalness that is highly believable.

Yet, for all The Falling’s genuineness and believability, it is a strange film. Its central premise has echoes of the hysterical contagion/the June Bug Epidemic that affected an American textiles factory in 1962; only, The Falling probably exaggerates the issue. Curiously, the fainting syndrome in the movie becomes so normal (and repetitive) that characters and audiences alike fail to bat an eyelid after a while. This is an abnormal reaction because the normal response to seeing someone faint is either to run over to the person who has fainted, or to call for help/an ambulance.

Lydia looking terrible, haunted even, as she tries to convince her teachers that the fainting epidemic is real and that she and her friends are not making it up.

Lydia looking terrible, haunted even, as she tries to convince her teachers that the fainting epidemic is real and that she and her friends are not making it up.

This leads on to the main issue at the heart of the film: is the fainting an epidemic among the girls? Is it something celestial or paranormal? Or is it just frustrated, adolescent girls crying out for attention (and an outlet) in a repressive environment? These questions are very pertinent as they can give viewers an insight into the stresses that adolescent girls often endure in high school. That is if one does not focus too much on certain, side-matters in the film that are remain ambiguous right to the end. Or if one can get past the perplexing, out of sync music. Or if one does not get an epileptic fit from the fast-flicking flashbacks that are unfathomable and add nothing to the plot. Nevertheless, if one can ignore these issues, one can greatly enjoy The Falling.

All-in-all, The Falling is an entertaining film in a stimulating and peculiar way. The movie may not resolve all its issues. But it is well-shot, has wonderful cinematography, and has marvellous acting to go with a good, solid script that brings out the best in Maisie Williams. Where The Falling succeeds most is in showing viewers the problems and pressures that most teenage school-girls face, even if it is in an environment and in a time slightly removed from conventional stories on the subject. Carol Morley must be credited for this because her film is original and demonstrates the dangers of repressing adolescent girls too much.

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Review – Seventh Son (12a) [2015]

Seventh Son - Title Banner

Star Rating: 1.5/5

Director:

  • Sergey Bodrov – Prisoner of the Mountains, Nomad: The Warrior, Mongol: Rise of Genghis Khan, Fool’s Game

Cast:

  • Julianne Moore – The Big Lebowski, The Hours, Maps To The Stars, Still Alice, Freeheld
  • Jeff Bridges – The Big Lebowski, Iron Man, True Grit, RIPD, The Emperor’s Children
  • Kit Harrington – Game of Thrones, Testament of Youth, Pompeii, Spooks: The Greater Good
  • Olivia Williams – The Sixth Sense, Maps To The Stars, Anna Karenina, Man Up
  • Ben Barnes – The Chronicles of Narnia II & III, Dorian Gray, By The Gun, Sons of Liberty
  • Alicia Vikander – A Royale Affair, Anna Karenina, Testament of Youth, Ex Machina, The Danish Girl
  • Djimon Hounsou – Gladiator, Eragon, Blood Diamond, Guardians of the Galaxy, Furious 7
  • Antje Traue – Pandorum, 5 Days of War, Man of Steel, Woman In Gold

Music Composer:

There are some films that can be boxed into the category of ‘laughably terrible.’ Batman & Robin, Birdemic, Season of the Witch, Conan The Barbarian, Sharknado, and Pompeii are all awful films, yet they all have the saving grace of being amusing in their awfulness. Sergey Bodrov’s Seventh Son is another such movie.

Mother Malkin (Julianne Moore), having returned, she is now back at home, planning her evil ambitions for the world.

Mother Malkin (Julianne Moore), having returned, she is now back at home, planning her evil ambitions for the world.

Seventh Son is based on the first book in The Wardstone Chronicles (although it is called The Last Apprentice series in America) by Joseph Delaney. Delaney’s website, Spooksbooks, defines the plot for Seventh Son as: ‘In a time long past, an evil is about to be unleashed that will reignite the war between the forces of the supernatural and humankind once more. John Gregory (Jeff Bridges) is a Spook, a person who fights against the Dark, who had imprisoned the malevolently powerful witch, Mother Malkin (Julianne Moore), centuries ago. But now she has escaped and is seeking vengeance. Summoning her followers of every incarnation, Mother Malkin is preparing to unleash her terrible wrath on an unsuspecting world. Only one thing stands in her way: John Gregory.

‘In a deadly reunion, Gregory comes face to face with the evil he always feared would someday return. Now he has only until the next full moon to do what usually takes years: train his new apprentice, Tom Ward (Ben Barnes), to fight a dark magic unlike any other. Man’s only hope lies in the seventh son of a seventh son.’

Yes, the plot is that laughable. It is plodding and silly, with predictable twists and a waterfall of fantasy clichés thrown into the mire. Indeed, there are so many fantasy clichés in Seventh Son that it is hard to believe that the film is anything other than an inferior derivative of other (better) fantasy stories. But unlike with other (irredeemably bad) fantasy films, like Reign of Fire and Rise of the Shadow Warrior, at least with Seventh Son one can enjoy pointing out where James Delaney/Sergey Bodrov have gained their inspiration from. In some scenes, the inspiration is so blatant one might as well re-watch or reread the works JRR Tolkien, Susan Cooper and David Eddings, and Dungeons & Dragons and Season of the Witch for good measure (to name but five). Some of the ideas in those stories might be bad or badly executed by today’s standards. But they were originals, if not classics, in their time.

Tom (Ben Barnes) and John Gregory (Jeff Bridges), pupil and mentor, going from place to place in classic fantasy style.

Tom (Ben Barnes) and John Gregory (Jeff Bridges), pupil and mentor, going from place to place in classic fantasy style.

Yet, if one thought the storyline for Seventh Son was the most ludicrous element of the movie, it pales in comparison to the dialogue. Unsurprisingly, the dialogue is lazily-written, clunky and hackneyed. But, at times, it is delivered with a campiness that one cannot help but laugh at, with Jeff Bridges being the Offender-in-Chief. Playing a cross between Gandalf and Rooster Cogburn, Bridges is barely comprehensible. Yet, he has a smile on his face for the entire film and looks like he is enjoying himself enormously in spite of (or maybe because of) the paucity of the script.

The same, however, cannot be said for the rest of the cast. Julianne Moore, habitually brilliant (and particularly so in the recent Still Alice), is shockingly dreadful as the one-dimensional, wicked witch. Appearing as a cut-rate cross between Queen Ravenna from Snow White and a latex rip-off of Melisandre from Game of Thrones, Moore looks bored at best and embarrassed at worst whenever she is on screen. Olivia Williams, Kit Harrington, Alicia Vikander, Djimon Hounsou and Ben Barnes all wear similar expressions during Seventh Son. It is as if this predominantly talented cast all know that they’re in a movie that stinks to the stratosphere and are just pleading for their scenes to be over so they can pick up their pay-checks and move on.

Alice (Alicia Vikander) rising seductively in the lake to entrance someone (I wonder who?) with her beauty.

Alice (Alicia Vikander) rising seductively in the moonlight to entrance someone (I wonder who?) with her beauty.

Likely, the cast had moved on and forgotten about this car-crash of a movie… until it returned to haunt them with its release in cinemas recently. Seventh Son was filmed in 2012 and was in post-production for more than two and a half years. The movie was supposed to have come out in 2013 and then in 2014, but was delayed on three occasions due to post-production troubles. Oddly, though, Seventh Son does not feel like a troubled production (unlike Transformers II, The Wolverine and The Hobbit III). It just feels wretched, pitifully comical and cheap, especially when it comes to the CGI. For a film which cost Legendary studios near $100million to make, one expects to watch a better movie, and consequently it is no surprise that the film has flopped. (Legendary studios expect to make an $85million loss on the movie.)

All-in-all, Seventh Son is an all-round awful film. From the script, to the acting, to the CGI, the movie is abysmal and filled with enough fantasy clichés to stuff a duvet. Nevertheless, the film has one saving grace: it is unintentionally hilarious. Thus, Seventh Son can be boxed into the category of ‘laughably terrible’ and can be enjoyed for the atrocity that it is alongside Batman & Robin, Birdemic, Season of the Witch, Conan The Barbarian, Sharknado, and Pompeii.

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