Tag Archives: Mark Duplass

Owen’s 2015 in Film: Part 7 – July Meets and Danny Dyer Tweets

Continuing his ongoing year in review series, Owen runs through some of the films that he’s watched in July. As with each of the previous articles in the series, the month will be broken down by week, with a review of one arbitrarily chosen film seen during each period.

by Owen Hughes (@ohughes86)

143955551975437What the hell happened, July? You used to be cool. The month started out with such optimism. Life was good. Failed Critics was on the up and with an ever increasing number of downloads and visitor numbers to the site every day following the switch to Acast in May, the outlook was positive. Arranging guests to appear on the next three months worth of podcasts was a doddle and the exciting first ever real-life meet up in London was edging closer.

And then, on the afternoon of Thursday 16th July just before the meet was due to take place, like a punch to the gut knocking the wind out of me, I found out that I was to be made redundant from my full time job. Not through any fault of my own either, but because it was cheaper to outsource my team’s role to a contractor. Bummer. A few drinks with some pals that weekend, the worst hangover I’ve ever had and one extraordinary new follower on our Twitter account (DANNY-FUCKING-DYER) later and things started to feel more optimistic again.

Whilst things have worked out for the best now, and from next month I will be a fully enrolled student for the first time since I was 15 years old, it’s both a scary and quite exciting time in my life! It took a lot of hard work and time for me to make this decision. Therefore, for July, the knock on effect (and what I’m certain that readers will perceive as the absolute worst thing to come out of losing my job…!) is that in researching the options I had available to me, I had hardly any spare time later on in July in which to watch films. It’s a good job I ploughed through a few of those nearly three hour long classics earlier in the month, eh?

Anyway, here’s a run through of the films that I actually did manage to see…


Week 1 – Wednesday 1 – Sunday 5 July 2015

Wednesday – [absolutely nothing]; Thursday – DEATH WISH 3 (1985)Friday – [absolutely nothing]; Saturday – 88 (2014), Terminator Genisys (2015); Sunday – Machete (2010)

death wish 3Not that I was expecting it to be, but Death Wish 3 is nowhere near as good as the original 1974 film starring Charles Bronson as a vigilante ex-cop getting revenge on some criminals. Directed by Michael Winner, a man who (as I’m sure we can all agree) was a massive twat, what Death Wish 3 shares in common with the original is how it notoriously descends deeper and deeper into a right-wing rant about modern societal values. However, whilst Death Wish has its faults, it was at least a proper movie. When Cannon Group created the first sequel, Death Wish II, eight years later with one half of its long-term contracted mega-expensive movie stars (i.e. Bronson, the other being Chuck Norris) it was, by and large, contemptible re-hashed shit. Nevertheless, it made enough money for the studio to be convinced it was a commercial success and another sequel was commissioned. Of course it was commissioned. This is Cannon we’re talking about. They probably commissioned ten Death Wish sequels, designed posters for 50 and pitched 100 before eventually folding. Playing up to the crass vulgarity that its audience so clearly demanded, Death Wish 3 is much more comfortable in being exactly what it is. There’s no integrity here. The biggest achievement is that it was released at all, but with Golan & Globus behind it, I suppose it’s not that surprising. It’s often held up as the only good sequel in the franchise (admittedly I haven’t yet seen Death Wish 4, but Death Wish 5 was … OK) and I can see why. It is completely over the top, ridiculous in the extreme and so very, very eighties. I mean, I still wouldn’t call it a good film; imagine The Purge but with doddery old man Bronson as the protagonist. It’s not far off that quality. Nevertheless, morally dubious nature and an out-right rejection of anything com’nist aside, taking its politics with a pinch of salt and admiring it as a daft action-verging-on-exploitation film, it has its occasional entertaining popcorn moments and could have been a Hell of a lot worse.


Week 2 – Monday 6 – Sunday 12 July 2015

Monday – The God of Cookery (1996); Tuesday – The Abyss (1989); Wednesday – Hoop Dreams (1994); Thursday – Red Beard (1965); Friday – 30 For 30: Straight Outta L.A. (2010)THE THIN BLUE LINE (1988)Saturday – The Lost Gold of the Highlands (AKA Garnet’s Gold) (2014); Sunday – [absolutely nothing]

the thin blue lineIt was about this time last year that Sight & Sound revealed the winners of their Greatest Documentaries of All Time poll. You might remember that soon afterwards, Paul Field issued a rebuttal on our site listing his personal favourite documentaries. There was only one film to make both of his and the S&S list, and that was Errol Morris’ critically acclaimed investigation into the American penal and judicial system that had sentenced a man for the murder of a policeman on little more than circumstantial evidence. Whilst there is a bigger picture discussed about how people in the US at the time could be convicted of crimes, at its core there is of course a very real case to be made for saving the life of one individual who was the victim of what Morris perceived to be a broken bureaucratic and prejudiced system. Paul described the film best when he said “Errol Morris changed the way investigative documentaries are made. People talk about influential or important, this paved the way to save lives.” I couldn’t have put it better myself. Aside from being absorbing in its narrative and genuinely emotional without needing to be as highly manipulative as its contemporaries often are, the impact that The Thin Blue Line had is recognisable and virtually insurmountable. It is a breathtaking achievement that undoubtedly deserves the adoration it has garnered.


Week 3 – Monday 13 – Sunday 19 July 2015

Monday – Hara-Kiri: Death of a Samurai (2011), Ted 2 (2015), LAND OF SILENCE AND DARKNESS (1971)Tuesday – Heart of Glass (1976); Wednesday – Stroszek (1977); Thursday – Touch of Evil (1958); Friday – Encounters at the End of the World (2007), Kickboxer (1989), Ant-Man (2015); Saturday – [absolutely nothing]; Sunday – [absolutely nothing]

land of silence and darknessI had a fortnight of quality films smack bang in the middle of July, with one or two exceptions (ahem, Ted 2). If in the previous month I felt my love for film slipping away ever so slightly after some of the dirge I’d sat through, the first couple of weeks in July had me reacquainted with exactly why I do what I do. I finally got around to watching the last few Werner Herzog movies on my Sky Planner, something I’d been promising to do since watching The Enigma of Kaspar Hauser back in January. I’ve raved about Stroszek on the podcast already and the intentional dreamlike nature Heart of Glass just confused, disoriented and scared me. Continuing with the documentary theme of above, I also watched Encounters at the End of the World, which was fine although far from Herzog’s best. However, it was in Land of Silence and Darkness, the touching portrayal of a snapshot in the life of the death-blind German woman, Fini Straubinger, that I found the most inspiring of the bunch. She was truly a remarkable woman who used her drive, determination and talents to enhance the lives of so many other people. Whether helping a young boy who was blind and deaf since birth to feel music, or taking her friends on trips, or arranging meetings for similarly afflicted people, it’s enough to make me feel emotional just remembering specific scenes. In the most poetic (and probably pretentious) way possible, watching the trust that a different young chap puts in somebody else to do something as simple as enter a swimming pool; it produces a swell of emotion. It’s uplifting, heartbreaking and immensely powerful all at the same time. Fini’s story is inspirational and Herzog captures a kind of abstract beauty in the way that in the face of this cripplingly lonely disability, her strength of character saw her achieve far more than most able-bodied folk ever could. Let’s just say that it certainly put a lot of trivial personal dilemmas into perspective somewhat.


Week 4 – Monday 20 – Sunday 26 July 2015

Monday – [absolutely nothing]; Tuesday – [absolutely nothing]; Wednesday – Hyena (2015), Last Man Out of Vietnam (2015); Thursday – Sharknado 3 (2015); Friday – Coherence (2014), CREEP (2015)Saturday – Silent Running (1972), Inside Out (2015); Sunday – Three Outlaw Samurai (1964)

mark duplassFour days in a row without watching a film; that must surely have been a first for me this year! Notwithstanding Thursday’s SyFy channel debut of Sharknado 3, those days that I did see a film, I think I chose well. Some half-decent new releases, a couple of great recommendations picked up from our Best of 2015 Thus Far list, plus two legitimate classics; it was what I can only describe as a solid week. Perhaps the most pleasant surprise of the lot was Creep, the mockumentary horror-thriller starring, written and directed by Patrick Brice. I didn’t have particularly high expectations of Creep. If anything, I anticipated a slightly run-of-the-mill, cheap looking, pretty average thriller but instead found it a well paced and suspenseful indie horror. The binding ingredient that excels it to a higher rung on the ladder than most is its star, Mark Duplass. He is absolutely fantastic as the unsettlingly odd, terminally ill man who hires a freelance videographer (Brice) to record his remaining days to give to his as yet unborn baby. Admittedly I haven’t seen Duplass in too many films; maybe just Safety Not Guaranteed, Parkland, Zero Dark Thirty and one episode of The League. Yet I would easily call it by far the best performance of his that I’ve seen. He is properly creepy and unnerving and it may even be one of the best performances of the year. The film itself slightly veers off course in the last 5-10 minutes and ends up somewhat trite but otherwise I’d give it a solid 8/10.


Week 5 – Monday 27 – Friday 31 July 2015

Monday – [absolutely nothing]; Tuesday – Irreversible (2002); Wednesday – Wild Tales (2015); Thursday – [absolutely nothing]; Friday – LOST SOUL: THE DOOMED JOURNEY OF RICHARD STANLEY’S ISLAND OF DR. MOREAU (2015)

lost soulFinally for this month, another documentary to end on. One that tracks the tumultuous production of Richard Stanley’s fated adaptation of HG Wells’ Island of Dr. Moreau. Particularly with Josh Trank getting a lot of flack from critics at the moment about his recent Fantastic Failure, for anyone interested in learning just how badly things can go wrong on set with a director out of his depth and an interfering studio, I’d highly recommend giving Lost Soul a watch. Of course we’ll never get to see the fully realised original vision Stanley had for Dr Moreau, which is a huge shame, but at least it makes for an interesting story with anecdotes of the crazy Val Kilmer and Marlon Brando’s antics! As for the quality of the documentary; it is a fascinating story to tell, but it was slightly garbled in its structure. For example, without having seen 1996’s Island of Dr. Moreau, I didn’t even know David Thewlis was in the bloody film until I caught a glimpse of him in the background of a still with Brando and Kilmer. Never mind the fact that he stepped in to replace Rob Morrow, whose departure isn’t covered in any significant detail. Similarly, Ron Pearlman is entirely absent too. With both Thewlis and Pearlman declining to appear, it does leave a rather noticeable hole in the documentary. Nevertheless, it is largely an entertaining documentary. And just like Marco Hofschneider – and presumably every other man on set – we’re all basically jealous that we aren’t Val Kilmer. What a guy.


And that’s it. Apologies again for posting this midway through the month and not closer to July! But if you see any opinions above that you agree/disagree with, or would like to chat about any of the other films mentioned, leave a message in the comments box below. Otherwise, I’ll be back next month!

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Tammy

TammyGenuinely sweet and often funny, Tammy’s problem lies not in its lack of big laughs, but in its title character.

by Callum Petch (Twitter: @CallumPetch)

I’ll say this for Tammy, I really liked going to see a comedy whose primary humour is, for once, not derived from characters being cruel to one another or just plain grossness as the main source of comedy.  There’s nothing wrong with either of those things in concept, so long as the jokes are actually funny, it’s just nice to get some variety in comedies.  When one of the characters snaps and refers to Tammy (Melissa McCarthy) as “cheeseburger,” it’s played for drama instead of laughs.  There’s a legitimate sweetness running through the film, though it may poke fun at its character, it feels more like good-natured ribbing than mean-spiritedness and that makes a nice change of pace.  Know what’s also a nice change of pace?  Homosexuals being treated as people in 15-rated comedies instead of punchlines.  There’s a sequence where Tammy and her grandmother, Pearl, (Susan Sarandon) end up at Pearl’s cousin’s (Kathy Bates) house for a lesbian 4th of July party and at no point does the film make a joke about two straight women being at a party for lesbians (OK, it does so once, but it’s invoked by the characters themselves as a sweet way to establish how close they are).

I take time to bring those things up because they’re the best things Tammy has going for it.  Look, I know that this Summer, hell, this year in general, has had us drowning in comedies.  You’re probably learning to be tighter with your money (Guardians Of The Galaxy isn’t going to see itself three times, after all) and you need reasons beyond “that trailer made me chuckle at points” to turn up to a comedy nowadays.  After all, after a certain point, they do start blending into one another.  Well, Tammy’s selling point is that it’s a comedy with a legitimate heart and a sweet nature about it.  The trade-off for this USP is that giant laughs are practically non-existent.  Trust me, you will not leave Tammy clutching your sides from laughing too hard, cos I certainly didn’t, so if that is a pre-requisite for you going to see a comedy, you’re better off holding off for something else or seeing 22 Jump Street again.

That being said, Tammy is not bad and nor is it dull.  See, although that sweetness seems to have robbed the film of giant laughs (although I’m not willing to pin that wholly on the sweetness, seeing as I am pretty sure you can actually have it both ways), it trades that for consistency.  The sweet tone allows for a nice laidback feel where the actors and actresses can strike up a smooth, easy-going chemistry that enables things to be funny, even when they’re not so much.  If the actors are clearly enjoying themselves, and that enjoyment is believable without being smug, then it’s going to end up leaking out of the frame and reaching the audience, making them have a good time, too.  So when Tammy and Pearl end up discussing the time that Pearl had sex with an Allman brother (not Gregg, the “Brother” part of the band name) and then end up verbally jamming along to one of their songs together, I actually found myself chuckling along despite that on paper sounding just plain terrible.

And so it goes.  Scenes come and go where likeable actors and actresses like Allison Janney, Mark Duplass, Gary Cole and Sarah Baker appear on screen and interact with either McCarthy or Sarandon and a steady stream of chuckles keep appearing.  It all flows well, there’s good pacing, even if the actual plot itself is rather non-existent (although I’d argue that adds to the charm).  McCarthy and Sarandon are the primary reasons why this film ends up working as well as it does.  Their chemistry together is palpable, believable and almost capable enough to draw attention away from the script’s uncertainty as to who Tammy and Pearl actually are (more on that in a sec).  McCarthy, who co-wrote the script, seems desperate to prove that there’s more to her than you might have gathered from Bridesmaids, Identity Thief and The Heat and she’s very good here.  Although she seems as lost as the script as to who Tammy is, she plays the various different versions of her very well, resisting the urge to get boorish, excepting one sequence set to “Thrift Shop” that feels airlifted from a separate film, and nearly always managing to stay attached to the big heart that exists at the character’s centre.  It’s a good performance and a better script would make this the role to break her out of the type-casting she seems to have fallen into.

Because, yeah, the real problem with Tammy, the one that keeps me from making a proper recommendation to you to go and see it, is the fact that I have no idea who Tammy is supposed to be.  The script jumps about the place, making her sweet and awkward in one scene, and short-tempered and childish the next.  A bit pathetic and needy one minute, just plain dumb the next.  I feel like the film wants to make her realistic, a sweet person who takes bad news and setbacks poorly but just spends forever whining about it instead of actually trying to enact change and bettering herself, but it doesn’t pull it off.  Instead of a singular and multi-layered three-dimensional person, Tammy feels more like a series of rejected clones from Orphan Black.  One scene she’s awkwardly trying to flirt with Mark Duplass, the next she’s pathetically sleeping outside her own motel room because her grandmother was using it for sex, the next she’s childishly knocking over gas station stands because the cashier shouted at her.  Several of the various sides attempt to come together during the fast food robbery scene that’s been played in all the trailers and, whilst the scene is funny, it just serves to make Tammy feel more like somebody suffering from Multiple Personality Disorder than the ordinary girl the film wants us to see her as.  One can also apply this to Pearl, the grandmother, too and be justified in feeling that way, seeing as she feels like a conflict inciter more than a character.

That being said, I did enjoy Tammy a fair bit and I’d even go so far as to say I actually liked it.  Maybe it’s just the change of pace in seeing a comedy designed around being nice and sweet with nary a bad bone in its body for once (I did give a positive review to the similarly nice and sweet The Love Punch, after all), but I genuinely liked what this film was selling.  I may not have laughed with every fibre of my being at any point, but there was a constant stream of chuckles and smirks and snickers and maybe even a full on laugh at one or two points (not a giant laugh, just for clarification, there is a difference).  Everybody involved has great chemistry and is clearly enjoying themselves even if they aren’t saying anything funny (in less polite terms, there is a criminal wasting of Allison Janney and Sandra Oh going on here) and the whole experience is so kind-hearted and sweet that it severely dampens down the impact of the otherwise glaring problems of character inconsistency and general aimlessness.

If you’re wanting a comedy that operates at a different speed than the other ones drowning the cinema this Summer, Tammy may be your bag or what have you.  It’s not essential viewing or anything, and I practically guarantee that you won’t come away feeling like your world has been revolutionised, but catching it at a matinee or cheap somewhere would honestly not be a bad use of your time.  If nothing else, I’m hoping that Melissa McCarthy is willing to try coming back to these kinder types of roles in future.  A better script than the one featured here and I feel like she could seriously surprise the living hell out of people by proving that she’s got more depth as an actress than people may think.

Callum Petch can ring anybody’s bell and get what he wants.  Follow him on the Twitters (@CallumPetch)!

Failed Critics Review: Paranormal Activity 4

Welcome to this week’s Failed Critics Review – unfortunately delayed due to technical issues.

Gerry is technically an old man who can’t stay up past 11pm apparently.

Anyway, better late than never! On this week’s podcast we review the latest instalment of the Big Fish in the Found Footage pond – Paranormal Activity 4. We also catch up on what the critics have been watching in the past week, including the wonderful Safety Not Guaranteed, the utterly bonkers Holy Motors, and the little-seen Speed Racer. Steve also finally got around to watching The Raid.

Join us at the weekend for Triple Bill where we discuss the films that have scared the crap out of us – and next week the Review returns with a review of Skyfall and a BOND SPECIAL!

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