Frantz : A Film Review

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Dir: François Ozon; Starring: Paula Beer, Pierre Niney, Ernst Stötzner, Marie Gruber, Anton von Lucke, Cyrielle Clair. 12A cert, 114 mins.

Setting of Post World War 1

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The opening passage of François Ozon’s elegant interwar romance invites us to second-guess the story that links Parisian musician Adrien Rivoire (Pierre Niney) to Anna’s late love, Frantz. Frantz is Anton von Lucke.

A melancholic period drama, Frantz, is an elegant reimagining of the story behind Ernst Lubitsch’s undersung 1932 drama Broken Lullaby.  It is Post World War One in a central German hillside town called Quedlinburg which is a UNESCO protected location.  It is the backdrop to the family home of the Hoffmeisters whose son Frantz was killed in action on French soil.  The elderly parents remain,  Doctor Hans and Mrs Magda Hoffmeister (Ernst Stötzner and Marie Gruber) are in the middle of the town and still Hans practices as a Doctor.  They have provided a roof over the head of Franzt’s intended bride whose daily visit to the grave erected in the hilltop cemetery is her place of comfort and the families only memorial.
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Complex emotive story

This is a deeply sad and complex war story told exquisitely by the twin hands of the principles, Anna (Paula Beer) and Adrien Rivoire (Pierre Niney) alongside a strong supporting cast.  The town Quedlinburg is a lost empty place without the middle aged and young men it has given to the war.  In one scene in the Hotel, Tavern, which is the centre of town life in some respects, it is notable when Doctor Hoffmeister goes along to a meeting of the menfolk, how with only one year having passed and pain, grief an anguish are all palpable and hurt is within the very bodies of the survivors.  Those with whom some responsibility lies in sending their young offspring to war.  This hurt regret, remorse, redress, reflection, is not a redemptive theme explored by the very masterful direction of François Ozon but one of conscious.  Retaining your sense of self and direction is troubling for everyone. Ozon’s past films are absorbing emotional spirited in theme as were, the sensuous Swimming Pool and Jeune & Jolie, with soon to be unveiled, Double Lover marking a return to those emotive personal tales after this more constrained and brilliantly balanced story of the melt within Europe over borders you cannot see in the Isra she shoots across the view from Quedlinburg.  At a height of thought also, he takes this story markedly into a melting pot of ideas and that it took place almost 100 years ago it’s a vision and offering for our own times.

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Anna and Adrien.

Centrally Anna and Adrien are brought together in this aftermath.  This is a summary position of dealing which their individual pasts.  The footsteps are first taken as we see Anna, after an opening shot of a hot simmering country wide view in one frame in colour, then into black and white of Anna buying flowers at he market stalls of Quedlinburg.  The streets rise to the cemetery through ancient narrow cobbles, up a steep set of steps to the open plain of the graveyard.  It is drenched in bright sunshine and François Ozon begins painting frames as an artist does with the drooping darkness of heavy topped trees branches shading parts of the graveyard and it’s random pattern of stones laid in rough rows seem to lend a peace and sense of ease as the order is lost and not heightened as was the third Reich.  This has a poignancy exacting of the sense of place, its genus loci being this infringement between the living and the dead in memories.

The compelling question from the outset is – Why is Adrien leaving flowers on the grave of a German soldier, Frantz?  With a sweep of a leafbrush the graveyard attendant imparts his identity as that f aFrenchman who is staying in the aforesaid Hotel.  The connections have to be pursued and it is the object of both to reach a point where they can talk.
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Skip comparative reviews.

There is a school of thought which I deplore, in some reviewers making connections – as they have done with this in respect of Vertigo, –  the displaced person in a love triangle, – of the other, a Hitchcock rumination akin to Rebecca – which in this film are totally useless. That viewpoint actually labours the point to actually attune it more to this misread being the theme of the film in scores.  The film is enfused with hidden truths, conceits, contrivances made to ease the pain and harm of things past. It is even seen by one as being like the work of another director preposterously so. Being unlike Ozon is very Ozon. It is in fact gloriously rendered which makes any pathetic correlation a nonsense.  The film stands alone as an art piece and while the artist, director have long connections through their own process of becoming directors themselves it is not a place to put those connections to the fore as ‘influences’, that is a tedious comparison.  This artwork speaks for itself.  …. One review has discovered it is nothing whatsoever led by the fore said but still posits …    (although his influence on the final film is undeniable).  As if this should or would have any relevance to a viewer allowing the piece to tell its own story.  Superbly.
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Anna’s horrible dilemma.

The perils of Anna whose life is in limbo, a short time after the war, is polemic.  Her past life and proposed future is totally conflicted by the grief she shares with Doctor and Mrs Hoffmeister.  The performance of Paula Beer is a colossal depiction of grief internally residual.  She holds her grief intact and in so doing is asking questions of herself, throughout the first, second and third acts as she deals with new developments and disclosures.  She, in so doing, makes herself vulnerable and inconsolable at times, internally so.  When she meets with Adrien after observing him from a distance at the cemetery, she is both shaken by his perceived closeness to her lost fiancé.  In seeking answers she also is caught in a despairing, unrelenting story of loss with no parties able to reach out to the truth.  Adrien is adroit at making things appear plausible and acceptable.  He is handsome, has an angular tautness, is eloquent, thoughtful, possibly well educated man.  Perhaps too thoughtful and naive in the possibilities that might arise from his actions.  He is brought into the family home and with that deepens his lachrymose impediment, his imbedded grief, disabling him to points of disclosure, as the hurt would be unbearable.  Seeing them is a barrier to telling what he knows in full, with their openness and hospitality having been satiated by Anna in advance making this dramatic encounter when it eventually is arranged profoundly heartfelt.  What lies beneath this surface is not known nor will it be shared for sometime if at all.  This is the magnificence of the story telling, unfolding in aching timbre emoted visually touching through the actors prearadness softly set out in slow framed consciousness.  The cinematography has a slight taint to it in that it uses cascade at times out of synch with the unfolding piece.  For instance the changes from black and white to colour, the cascade, are intended to visualise the positive and warmth in relations iincrementally developing.  Yet it sometimes remains in black and white while that positivity is surging.  There are flashbacks to scenes described between Anna and Adrien of Frantz in the prior period.  That advances War scenes in colour and disharmony on the part of the rhetoric.  It could have been the intention to depict falsehoods in colour but that is neither the case.

Station to station

The belle indifférence with the previous pre-war world is seen in the French sequences of Paris seen as a repairing regrenerating counterpoint to Germany with strolling through the Louvre.  Looking at Manets The Bathers with beneath it, Le Suicide.  The Parisienne fortunes appear secure until late we visit the city and see its invalided body shattered and barely functional.  Losses are in the second half now relater back to the French mirror image with raw torn hearts spilling with their own grief.  The lack of manpower to rebuild also is evident.  The Cafe Belle Époque of the prewar years have vanished as if they never existed.  These times in France are frequently visited as in Therese Discomany, the Francóis Maurice love story or romance and in England it spurred Hillaire Belloc to read into the French and German dilemma such things as were prescient as his boook simply called The Jews reflects.   The era is a classic place of adjustment on the continent.  The borders of the Versailles Treaty escaping the paper constructs of power brokerage and envisioning some relenting peace are to determine so many revisions and the place of starting over.  Such memories of that war were psychologically damaged stubbing for the human beings that survived and were born into it.  This is a point well travelled by François Ozon.  The tributes to people lie everywhere you step.  The consoling and consoled.  The embittered and the vengeful.  The hardened and positive, negative deniers.  The words of the script are beautifully sharp and breathing every btreath allowing the characters to deeply affect you.  There are no persons within it who are trivialised by being seen as perpetrators, or being the enemy.  Far from it the sensitivities are enlarger by the resort to poetry as in the Verlaine poem recited at one point and the rendition in a public place of La Marseillaise. Discomforting in its – subtitled English excentuates the folly of some heroic words – presence there, right in the time.  The immovable shape of the form of war.
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Conclusion ####4

The film of the year so far for me.  Frantz is a lesson for modern living.  The exploration of the psychological depths people go to to either convince themselves of a truth or naively embark on consuming someone else’s apparent truth are startlingly effective. It is a sad and remorselessly engaging heroic film.  Anna is a flawed heroine as indeed despite his misreading of the reasoning he puts to things, is also an essentially flawed person with a ruined perspective of life brought on undoubtedly by war.  The thought is inescapable as the war poetry of many follows in this malaise of mind tyranny in order to cope and construct something at terms with the present.  Writers like Michel Houllebecq make the morose sexual eaae methods deployed in and out of war a frequent tap root of sorrow. The novel in its 20th century incarnations after Stoker, Shelley, Balzac, Dickens have given literature many versions of the nation and the use of borders as an identity rising as a continual denier of the universal truth of equality before God.  

John Graham
17 May 2017
Belfast

On from this Friday 19 May until and including Thursday 25 May 2017

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Personal Shopper : A Film Review


Personal Shopper
Director. Olivier Assayas, Produced by Charles Gillibert, Written by Olivier Assayas, Starring Kristen Stewart, Lars Eidinger, Sigrid Bouaziz, Anders Danielsen Lie, Ty Olwin, Hammou Graia, Nora von Waldstatten, Benjamin Biglay, Audrey Bonnet, Pascal Rambert. Cinematography, Yorick Le Saux, Edited by Marion Monnier, Production company, CG Cinéma, Vortex Sutra, Detailfilm, Sirena Film, Arte France Cinéma, Arte Deutschland/WDR, Cert. 15. Duration 1hr 50mins.


The Outline

A young American in Paris works as a personal shopper for a female mega-rich celebrity. Personal Shopper Maureen played by Kristen Stewart seems to have the ability to communicate with spirits, like her recently deceased twin brother. Soon, she starts to receive ambiguous messages via. text from an unknown source.  Her travels take her to and from London and she is stalked by these messages while she is figuring out her brother Lewis’s ‘presence’ while advising his late partner and friends on the forms medium enquiry takes, as all try tying up loose ends concerning the former home the couple lived in.  While it is on her mind she remains there in Paris addressing the spiritual effects on her.


Acting Sharps

Love or hate central character Kristen Stewart either a cool, ‘calm and self assured way … in the portrayal of Maureen who is an assistant operating as the title says in a shadow role … ‘ as someone very competent, smart and young as others see her (male and female acquaintances come up with the similar infuriating answers) that she acts perilously close to appearing to have let off a sneaky fart.  Her facial expressions in other words conveying this repose. Not exactly the way of conveying criticism but there is a public appetite for simplification and many ways of expression co-exist.  I differ though as though I am not entirely taken by her acting while appreciating here and in the previous collaboration – she seemed better in – Clouds of Sils Maria, with director Olivier Assayas.  This is a sensational chilling, at times disturbing, ghostly twin peaks thriller.  That is more than overkill as a description and instead it could be – some fellow viewers say it this way – as a plodding vision on spiritualism explored using 1900 references, musical, novel and filmic as well as a large presence of abstract art.  Being critical of Kristen Stewarts presence and acting impress is valid due to the high profile she has attained.  She has her smarts choosing parts suiting her and this again is one that she excells in my view as she ‘inhabits’ the part and allows its slow release.  Optimum high drama is not her style and a lot here depends on her not reacting to situations as a witless overacting actress quite legitimately could have portayed it. It will be interesting when another more dynamic dramatic challenging part requiring altered states of acting rather than altered states of mind – laid on her courtesy or constrictingly here by Olivier Assayas.

Trope trailing trowels

We are no longer in the vulnerable trope female genre age (I sincerely hope) and as a personality the bi-sexual individuality of Stewart operates on a higher plain.  So much more is – in her projection – about you seeing a woman thinking on her feet. That is how it should be. Film making advances and KS is up with tat unquestionably.  Choices in fashion shops for someone else, to Kyra (Nora von Waldstatten) who she doesn’t empathise with and while things happen in many ways as she tries to contact her late brother Lewis firstly via. a stopover in the house he and his partner, who has since vacated it, lived in.  This is something she delivers on.  The shallow part is in the drama internalised.  It is impossible to convey – otherwise our Director would not formulate filmic distortions and overlay them. The layering on of some actress throwing up water of liquified gung down screen and walloping us with ‘fright bites’ tells you the actress is apparently aware of a ‘presence.’  So that’s the chops of limitation gone. Terrifyingly the film ‘Under the Shadow‘ did it so much better as did Narges Rashidi’s Shideh acting even allowing for the presence of a child.  It is light years ahead of this film.


Lessons in doubt

Maureen being a twin has been consumed by her late brothers interst in ectoplasmic experiences and his intoxication with spiritualism. If some viewers actually extend the idea she is herself a medium, it is not quite that distinct in the fiilm and purposefully some dialogue indicates that. The co-relation of the twins is used as a deep connective configuration advancing and allowing us to give credibility to her need to go into this means to connect.  Also advanced as a secondary way is the story of prospective purchasers who Lara, brilliant delivery (Sigrid Bouaziz) has arranged a provisional sale with – providing it’s not haunted.  Quite how they got to be aware of this possibility is another unlikelihood.  Hey but this is story telling and poltergeists are everywhere.  Victor Hugo gets an approval rating by way of a filmic diversion explored by the search engine world all inhabit.  It’s not just employed as a screenshot on a phone but is itself put up in 4×3 ratio as a cut into the film itself – placing it as a condescending educational aid primarily as it is counterproductive and another piece of confirmation Maureen is not fully up to speed on large figures of medium history.  Odd?


General Major Von Ruff (Lars Indiger) from BBC’s SS-GB turns up as a companion of the Mega-rich Celebrity Maureen and equips it with a side story but the sensationalist use of both characters is for drama content only absenting itself from the plot.  Into the ingredients come supposed markers in the form of Phone text exchanges as Maureen continues to buy things from Paris and London, furnish the clients wardrobe and only briefly interacts personally with.


Work of Hilma-af-Kline. (Other images seen in film)

Abstraction

This film takes us through the territory’s of well documented followers of spiritualism from the abstract artists to the novelists though not going as far back as Shelley, Wolsencroft, Yeats etc. and Hugo is highest in exploration while Steiner and Germanic themes dismissing spiritualism are advanced along with an atmosphere borrowed from Cabaret and musical underpinning which adds up to a concoction mash up rather than a rather good recipe which on other occasions may have expanded the thesis or directors aims, understanding for us to be satiated in this complex ‘other’ world.  Presumably Aleister Crowley was a no go area and too unfashionable.  Swedish pioneer Hilma -aft-Klint is the most clearly ‘startling’ face of examination on the subject while Hugo is very obviously the exponent of the written conquest of the forms and ideas.  Conquistador, never thought I’d use that, but the film has Victorian and lots of diverse angles, unfortunately in a mash up.
Maureen is a supremely assured young person in Paris who clings to the memory of her twin brother Lewis who has recently died.  His widow .. is coming to terms with the loss and is almost separate in grieving.  The effect on her of loss is never explored properly which sits badly. Her character is strongly projected and lifts and contrasts with the central dynamic.  The lack of awareness is ascript problem with presence taken with other choices themselves pedestrian and in danger of seeking out artfulness.  Is it attempting to convey the everyday?  Contemporising the vision of ordinariness/complexity each apparent, in our existence with unexplained spiritual questions a fixed part of life explored variously but where is the hook and ponderable intensity of the question?  It’s virtually lost as will become clear by anyone seeing it through to the end.

Subtraction of anxiety

Because there is an appetite for skilful drama on subjects of family loss and the strangeness of further and further examples of concealment – not in plain sight issues and ideas or science based constructs – we are hopeful of it being satiated.  That is where Cinema a sets itself apart from other ‘media’.  Film has delivered the technical age of impersonal interchange.  Scream. Nightmare on Elm Street.  Under the Shadow subverts this completely and intelligently using a blank TV to put the self into and see things there.  Text requires your imagination – it’s no secret – has to put in absent words became se of the truncation. Cinema has past history unparalleled in taking us into challenging peaks and troughs of life.  Life itself defined here crudely in death.  The only part of our awareness of life is experienced by death. Time shaped life is present in the moment collated through memory which itself is plastic.  For a true picture of the phenomenon unstarstruck this is not the place to look for answers and ‘arthouse’ is a looser bond here in the speel given in other reports as to its veracity or filmic depth visually or storywise attributing as it does too many ‘representative’ tokenist tropes and planks of assumed knowledgeability of the topic to have it drop the ball somwhere over the Seine.

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Other psychics are available – Aleister Crowley                         Victor Marie Hugo also wrote his original thoughts on mediums

Conclusion ###3

I was initially interested in where this film might take the ectopsmic hinterlands of spirituality in the authorship of Olivier Assayas but was quickly disappointed in its seemingly directionless plot building.  Fashion houses only are of passing interest – after Comme Garçon all pails.  The bling of glitterati in hot house shops conveyed the Personal Shopper role without intimating any lack of form or shape to the body of the human placed in the centre being at odds with that occupation.  It is and was a mere occupation apyingbthe bills and any opportunity to convey materialist notions of contemporary value systems were non existent.  So what then?  Maureen clearly was using the job to pay the rent and apart from some passing exploration of the sexual content of the choices she was making for her clients identity which were at times matching her own it too was trivial in its effectiveness.  There is not a lot an actress could do with the clothes except cosset nourish herself with their temporary escape and then move on.  The void was so apparent and uninteresting.  As for the spiritual enlightenment none came to pass. Quite a few reactions were of the ‘presence’ of absence which is stretching the task of using language to fit the void in extremis.  It may have worked with emphasis in different places but it didn’t shape up at all.  As for its tendency to factorilise the brief of the ‘medium’ it was tediously condescending it is attempt at gravitas.  While many will like it because they like the look it is hardly going to be held as a new thought provoking exemplary piece of film making.

Kristen Stewart needs better work and can outlast this temporary indulgent blip.  I certainly hope and expect her to excel somewhere along the line.  I was said in a ‘proper’ review! nameless that  She possesses an uncanny ability to turn her natural charisma into diffidence. You can’t take your eyes off her, even as she ..  That view has a different outcome for me as plain blandness.  The view related also paying film fans. Still in a parallel world – the world of Russian Vogue I believe KS turns up recently as a fashion model and all the clothes are radiant and colourful.  See the web for the blonde new look attire.  Strikingly photographed.  No hint of irony but clothes listed in Russian!

John Graham
16 March 2017

Belfast
On at Queens Film Theatre Belfast from 17 March through to and including 23 March 2017.  Also on General release at selected Cinemas.

The Neon Demon : A Film Review


The Neon Demon

Directed by Nicolas Winding Refn Produced by Lene Børglum Nicolas Winding Refn Screenplay by Mary Laws Nicolas Winding Refn Polly Stenham Story by Nicolas Winding Refn. Cast. Elle Fanning, Karl Glusman, Jena Malone, Bella Heathcote, Abbey Lee, Christina Hendricks, Keanu Reeves.  Music by Cliff Martinez Cinematography Natasha Braier Edited by Matthew Newman. Cert. 18. Duration 1hr 57mins. USA/France/Denmark co-production.


 Horror is not a good fashion look. (The above is!)

The Neon Demon is a 2016 internationally co-produced psychological horror film directed by Nicolas Winding Refn, co-written by Mary Laws, Polly Stenham, and Refn.  It follows an aspiring model in Los Angeles whose beauty and youth place her jealous conflict with her co-industry aspirants.  Even the players of the behind the camera roles place her as an enemy.
The pages of fashion magazines need new product displayed on the captivating physical presence of beauty such as the Elle Fannig character here Jesse.  Unencumbered by a lack of self belief or confidence she almost automatically tunes into the model world she has embarked on in the opening 16th year of her life, seeming destined by choice to become a supermodel with whatever besides her looks it takes.  The world of modeling according to Director and Production company lead, Nicolas Winding Refn, who is unsurprisingly on a path of female psyche and force of horror employed in a contemporary world removed from the tame The Devil Wears Prada.  They do a nice very comfortable black slip on shoe so the Devil is a conformist these days.  Bella Heathcote as Gigi and Abbey Lee as Sarah are installed as the pair of horror monster models as jealous as hell of the monochrome photographer, bypassing them and selecting her for special treatment, which results in an audition at a fashion designers misoginist casting.  Ignoring each woman as he looks for the perfection he sees in the post Lolita nymph like Jesse he dismisses all others and a calamity befalls the rejected.

 

Bella Heathcote

Born troopers 

Sarah and Gigi have a very thin foliage to match their very thin and tall raw beauty.  They are in anyone’s eyes as beautiful and perfect as the magazines and runways ought to need for this cosmetic circus.  Mostly in ill fitting, clothes and absurd facial makeup with for this film an emphasis on bondage, leather costume, they have little to play with and add were possible a sense of character, especially in Bella Heathcotes part as an Australian who is too vunerable to self reflection – and as Fifty Shades Darker is a role soon filled by her it is a touch sardonic whereas Abbey Lee (Kershaw)  flushed with blond looks and sultry stare employed in Mad Max : The Fury, is only able to play with wit alongside her Australian beauty.  Elle Fanning has a difficult role cast firstly as a malleable youth, with looks almost prepubescent and waves of blond curls and feigned awkwardness along with youthful knowing.  Her parents are non-existent, literally, and her only foil is a male pal of the same sort of age but with a driving license, who has the role of feeding her ambition and allaying some insecurities until he becomes himself more knowledgable of the environment of West Hollywood and the Los Angeles culture.  Jesse is at times, usually off call more of a natural teenager and this is I suppose a purposeful contrast used on instruction or shear wise move acting.  It provides her with a scope to train emotions into what sometimes might be called reality until it goes off tangentially on a peculiar ‘video music centered’ dreamscape or sub-textural plot thickening mush. Her own child like good looks are partly convincing as the ‘perfection status’ is cast as beguiling but it is random and over employed.  To such an extent it is not fashion or photography – the core industry necessity – but this directors moving image contest of poetic filmaking which frankly is a bit of a void which a very good professional photographer would have had more ingenuity with. Stand up Australian Danish French English photographers who are true masters of the unusual.


Abbey Lee (Kershaw)

Plot thinning with Music thickening

This film is very poor on narrative and has only the lonely path of rising to a pinnacle in a short time which causes insane jealousy and in some cases derangement which unhinged the horror element.  Fast and slick this construct is flawed in aping as a segmented piece the music instead of story heralding any change of tack.  It follows from the Dorectorsxown previous history with advertising, music video short filled episodic film making.  It consequently has a very good score with initially heavy industrial house leading us in expectation of something special.  It promises through one entry to a party performance piece that falls flat on its own pretentions.  In Holy Motors a video holographic episode is handled with a narrative edge. The music even dies away as a visual companion entering into gothic electronic somber sobriety fairly quickly as we are invited to afford gravitas and complicit narcissism along with the menagerie of the composite fashion industry.  I also thought the facial paintwork and body paint far off the scale of portraiture offered in aperiodof professional photography have a lot have moved on from.


Horror elements

Fifty shades of derangement are appropriated as the roles of male svengalis strive to obtain and some of the women, what they haven’t got.  The looks or beauty of Jesse.  Or try to debase it while controlling the verve or visual ‘narrative’ cloyingly.  The place for blood is in shiny interiors so .. that’s delivered .. the place for glamour is the hilltop Ruby (played by Jena Malone who has a good time and a role to get her teeth into) house sits with pool Chanel decor and decadent and fashion styling out of its skin.  The vistas are beautifully realised as the moon even puts in a peerless appearance.  Hank (Keanu Reeves) is a Motel manager with a caustic streak and an attitude problem as Dean (Karl Glusman) finds as he chaperones Jesse.  The best shot in my estimation is one where Jesse comes onto the ‘boulevard’ outside the motel and meets Dean whose car is parked under the evening Neon of the street doused in colored light.  Not only descriptive of the Los Angeles Micheal Connoly and legions of writers screen and pulp fiction find so borderline and visceral. It could have been over in half an hour.


Conclusion ###3

This is going to press many buttons for the heady cocktail of superficiality it projects. Some like the ridiculous in film and this sharply spectacularly fits the bill. It is showy but not ironic or plaguristic enough to be a fixed animal.  No real head on its story or for that matter any real idea of insightfulness.  Even Jackie Collins came to mind as the sleazy side was as buttoned down thinly coated realism given its LA look.  Very graphic and uncompromising in its unfolding hate conspiracy it has, as mentioned earlier, an episodic feel with the music signaling a change of plot line or new look to impart a direction of travel.  The house music is intensely invigorating and pretty decent as a vehicle but it cannot hide a rather unchallenging film.  The epitome of good taste is bad taste and this descent blurs the boundaries.  Irony is too obvious a move as is vacuous juxtaposition of beauty – an animal in its magnificence does appear! – in all its forms.  Ruby is excellent as are the other females in the cast but the men play it cliched including KR who is more of a cowboy than a Motel manager.  Christine Hendricks has a very short role and ever her deadpan sardonic wide expansive curvy beauty doesn’t get much to be delivered through its briefity. Her looks alone would make celibate priests question their vocations devotions.    Of limited appeal.

John Graham 
6 July 2016

Belfast
From Friday 15th July to Thursday 28th July 2016 inclusive at Queens Film Theatre BELFAST.