THE RUM DIARY

THE RUM DIARY
Written and Directed by Bruce Robinson
Starring Johnny Depp, Aaron Eckhart and Amber Heard


Paul Kemp: I don’t know how to write like me.

Last fall, I heard some of the most ridiculous comparisons made when the Johnny Depp vehicle, THE RUM DIARY, tanked at the box office. The trades went off about whether or not Depp was washed up because his latest had brought in nowhere near what his PIRATES OF THE CARIBBEAN outings. Somehow it didn’t seem to occur to anyone that it might stand to reason that a small movie about a journalist who escapes to Puerto Rico in the 1960’s might not be able to take in the billion dollars the latest “Pirates” spectacular had. Sure, Depp stumbles around like he’s drunk in both of them but one of those movies has swords too. THE RUM DIARY didn’t stand a chance.

Expectations were reasonably high for THE RUM DIARY given Depp’s cult following for FEAR AND LOATHING IN LAS VEGAS. Both films are based on Hunter S. Thompson novels so the logic was that the support for the first film would spill over to the latest. The trouble with this rationale is that films about drug and booze addled messes don’t always connect in theatres, meaning home video time is THE RUM DIARY’s time to shine, right? Technically, yes, but the movie does have to be worth watching regardless. Under the direction of Bruce Robinson, who has not made a movie himself since 1992’s JENNIFER EIGHT, Depp’s second dance with Thompson is considerably tame, much less trippy and disastrous than one would expect.

THE RUM DIARY has a certain breeziness to it that make it a much better film to be screened at home than in cinemas. While in Puerto Rico, Depp’s Paul Kemp, gets caught up in excessive drinking, entangled with a woman who is already spoken for (Amber Heard, spoken for by Aaron Eckhart) and mixed up with a bunch of fat cats who want to get even fatter off the backs of the Puerto Rican people and their gorgeous landscape. It all amounts to a lot of meandering moments and conversations that ultimately bring Depp absolutely nowhere. Like that breeze, it passes through, can be somewhat enjoyable for a moment or too but once its gone, it’s forgotten.

Review copy provided by eOne.

SAFE HOUSE

SAFE HOUSE
Written by David Guggenheim
Directed by Daniel Espinosa
Starring Denzel Washington, Ryan Reynolds and Brendan Gleeson


Tobin Frost: Remember Rule no. 1 - You are responsible for your house guest. I am your house guest.

Despite the title, at no point in time while watching SAFE HOUSE will you feel anything close to safe. Director, Daniel Espinosa, an unproven talent in the industry before now, delivers a non-stop thrill ride that provides Denzel Washington with an all too uncommon role worthy of his weight as an actor and co-star, Ryan Reynolds with an opportunity to step up his sometimes all too easy game. Once the chase is on, it is flat out relentless. By the time you do actually get to catch your breath though, you might wonder if there was any real need for all the fuss.

Washington plays Tobin Frost, a former C.I.A. operative who went rogue years ago and is now one of the most wanted traitors on the American watch list. After acquiring a microchip with naturally damaging information on it, he becomes instant prey around the world, allows himself to be caught and then finds himself in a C.I.A. safe house, which is a holding tank of sorts, awaiting his fate. Reynolds plays Matt Weston, a green C.I.A. operative whose job it is to oversee this safe house in Cape Town, Africa. It sounds important but he hasn’t had a single guest in the year he’s been there. Once the safe house is inevitably compromised, Washington and Reynolds begin a dance that finds them both helping and hindering each other as they try to stay alive together.

In the end, SAFE HOUSE plays too safe a hand. Espinosa plays all his cards properly, including shaky camera, grainy tone and off center framing, all devices that heighten tension and keep the viewer on edge, but it’s an exercise in competency at best. At no point does it elevate to a place of originality, which is also due to the oversimplified plot structure. David Guggenheim, another untested player, has written a script that relies too heavily on the genre’s familiarity to make any part of it necessarily memorable. For instance, we don’t know what’s on this microchip until much later on in the film but it doesn’t even matter what is on it really. All that matters is the chase. Espinosa can keep that chase fast and taut, and this is what makes SAFE HOUSE a pretty safe bet, but once the cat catches the mouse, the game is gone and simply forgotten.

MILDRED PIERCE

MILDRED PIERCE
Written by Todd Haynes and Jon Raymond
Directed by Todd Haynes
Starring Kate Winslet, Guy Pearce and Evan Rachel Wood

There are some dream projects that just make me shiver with an almost lustful anticipation. HBO’s 5-part miniseries, MILDRED PIERCE, is definitely one of these projects. James M. Cain’s 1941 novel of the same name has been interpreted on film before (in 1945, directed by Michael Curtiz and starring Joan Crawford in the title role) but never has it been given this kind of honour. Directed by Todd Haynes, one of today’s most fascinating filmmakers, and starring the inimitable Kate Winslet as the 1930’s heroine, MILDRED PIERCE pays homage to Cain’s work by allowing it the time to breathe and settle into the subtle and sumptuous epic that it was always meant to be.

Mildred is a mother first, no matter how trying it is for her to fill the role. When we meet her, she is baking pies to bring in a little extra cash, now that her cheating husband (Brian F. O’Byrne) is no longer bringing home what he used to when business was booming. Shortly thereafter, she kicks him out and decides to take control of her life for her daughters, Ray and Veda (Quinn McColgan and Morgan Turner). With the classes crumbling all over Los Angeles, Mildred is desperate to maintain a certain lifestyle for her girls but to accomplish this, she must go through one obstacle after another. And some of them are pretty devastating! It is Mildred’s determination and resolve that define her though and soon she is achieving great success amidst her emotional turmoil. And it is Winslet’s extraordinary ability to oscillate almost imperceptibly between her internal and her external emotional expression that makes Mildred so captivating. You never know where she will go and what she will do next but you always know that she will be fighting fearlessly no matter what. It’s inspiring.

The MILDRED PIERCE cast is rounded out by Guy Pearce as Mildred’s playboy boyfriend, Melissa Leo as her best friend and Evan Rachel Wood as her mortal enemy, the grown version of her daughter, Veda. The mother/daughter conflict seems almost secondary at first but as it builds, and it does so with great insight and delicacy thanks to the tender hand of Todd Haynes, it becomes apparent that this relationship is the central one in Mildred’s life. It drives her to succeed at all costs but also tears her down to absolutely nothing all too often. To an outsider, many of Mildred’s actions might seem selfish but to those who know her, Mildred’s motivation is almost always for other people and more often than not, for Veda. It is a testament to Hayne’s talent as both a filmmaker and a writer that we actually come to know Mildred well enough to know this about her.

IN TIME

IN TIME
Written and Directed by Andrew Niccol
Starring Justin Timberlake, Amanda Seyfried and Cillian Murphy


Henry Hamilton: For a few to be immortal, many must die.

Depending on how you see it on any given day or what side of the bed you got up on, time is either on your side or running out. For some, all they’ve got is time on their hands, while for others, time is the enemy. There are a number of time cliches one can reference to sum up a number of situations and all of them seem to culminate within Andrew Niccol’s IN TIME, a science-fiction thriller that could have used a little more time in the oven itself.

IN TIME is interesting enough but that isn’t really enough to make it worth something. At some indeterminate time in the near-ish future, the world has figured out how to stop the aging process. At 25, you’re done and a clock starts on your left forearm that, like any good wrist watch, keeps perfect time for you. Only this watch doesn’t keep you on schedule; this watch is a constant reminder as to how many days or hours or minutes you have left on this planet. Everyone gets a year when they turn 25. It is then up to you to keep finding ways to replenish that time so that you don’t suddenly time out. Like I said, it is interesting enough in theory but in execution, IN TIME is nothing more than a vehicle to continue establishing Timberlake as a thing, thinly veiled as a high concept morality tale.

Time is therefore currency and IN TIME wastes no time with subtlety in demonstrating how there will always be have’s and always have not’s, no matter what our current currency is. After kidnapping the daughter (Amanda Seyfried) of the apparent richest man (read, most immortal man) in the world, the twosome naturally fall for each other in their quest to better the planet and equal the playing field. They begin robbing her parents’ banks and giving the time back to those who desperately need it. Suddenly, Niccol doesn’t seem to know what kind of movie he’s making anymore. Is it sci-fi? Is it a heist movie? Is it Robin Hood? Whatever it is, it is only half entertaining, half of the time and Timberlake only has half the gravitas required to carry this film. In the end, I highly doubt that IN TIME will be able to stand the one test it needed to pass and I don’t think I need to even say what that is at this point.

Black Sheep interviews Paddy Considine

WHAT MAKES A MONSTER
An interview with TYRANNOSAUR writer/director, Paddy Considine.

When Paddy Considine decided to write and direct his first film, TYRANNOSAUR, he had no intention of making one of the most bleak films in history. And, depending on how you read it, he may very well have not, but the surface of the film itself might make it difficult for some to see the hope buried beneath the heartache.

“Some of it, I’m still uncomfortable with,” Considine begins to explain when we meet at the Toronto International Film Festival in 2011. “I wanted to make a film about redemption, about how souls are pushed to the limit. I just hope there is something in there that people can identify with.”

TYRANNOSAUR is the unlikely love story between Joseph (Peter Mullan) and Hannah (Olivia Colman). Joseph is a lower class brute, who has just realized that his violent nature is holding him back from any sense of peace. Hannah, a middle class shop owner, has violence in her life as well, in the form of her husband’s (Eddie Marsan) fist. Neither can understand it nor explain it but they each come to know a newfound calm inside after they meet.

“To me they’re heroic because they’re just bearing their soul to you. I couldn’t help but care for them.” Considine says of his own creations. “There were times on the set where I had to take myself to the corner because I was quite upset. I didn’t realize how much I loved them.” Considine, a stoic man in person, is clearly enamored with the process itself and seemingly surprised still by just how much so.

Considine in action

North American audiences will likely best know the 37-year-old Considine for his acting parts in films like THE BOURNE ULTIMATUM or the Oscar-nominated, IN AMERICA. While directing is something he knew he wanted to do, it is not something he ever thought he would just pick up naturally. In fact, it wasn’t until he was on set with Mullan and Colman that he knew he had made the right choice. “They confirmed a couple of things to me. One, that my intuition about casting them was right and two, that I actually could direct.” Considine confides. “It wasn’t just a sort of a notion I had, ‘I fancy directing a movie now.’ No, I had this burning desire and they just grasped the tone of the film.”

That tone, as troubling as it is at times, still came from Considine’s mind, so I cannot help but wonder what inspired this story to be the first he would tell. “It’s just a build up of everything, my life growing up, the people I was around,” Considine admits freely and then quickly denounces any notion of autobiography. “To be honest with you, I suppose a lot of it is me just trying to make sense of a lot of things and a lot of people.”

Colman and Mullan in Tyrannosaur

If you can stomach the pain in TYRANNOSAUR, then you can see the light hiding underneath that pain. It is clear to me that Paddy Considine sees that light quite brightly. “These people, after these wars, are still soul mates. They’re like soldiers who have shared an experience. Their understanding of each other is far beyond attraction; it’s not about that. It’s a higher love that they share.”

This would be the opposite of bleak.

BOARDWALK EMPIRE

HBO has a reputation for producing quality, cinematic television and BOARDWALK EMPIRE is a perfect example of this. Set in Atlantic City during the prohibition era, the show focuses around the city treasurer, one Enoch "Nucky" Thompson, played with great weight and resolve by Steve Buscemi. Often relegated to showy, albeit still mere, character roles, it is incredible to see Buscemi take the lead in this series and to see him do so with such impressive strength. He leads an ensemble made up of actors who are often not given their due, from Michael Pitt and Michael Shannon to Kelly McDonald and Michael Stuhlbarg. Altogether, they make up one of the most dynamic and effective ensembles on television today.

The first season, now available to rent or own on either DVD or Blu-ray, consists of twelve addictive installments. The series itself was created by Terence Winter, one of the main writers on another HBO gem, THE SOPRANOS, but the pilot episode itself, which reportedly cost $18 million to make, was directed by none other than Martin Scorsese. Scorsese, who also serves alongside Mark Wahlberg as an executive producer, is the Godfather of gangster cinema (sorry, Francis) and his gravitas anchors the series from the very beginning, allowing it to go to places that are often shocking and moving. The first season, based on the Nelson Johnson novel, Boardwalk Empire: The Birth, High Times and Corruption of Atlantic City, follows Nucky as he gets his bootlegging business off the ground, falls for a recent widow (McDonald) and struggles to ensure the Republican party, the one he controls from behind the scenes, remains in power. It is at times uncanny how some of the issues people wrestled with then are still prominent today.

BOARDWALK EMPIRE presents the golden age of gangstering and it does so with such class and subtlety that it burns directly into your mind, leaving you wanting to get back to that boardwalk as often as possible. If more television series took as much care with their stories and characters as this one does, I think its fair to say I would have a lot less free time on my hands.

Black Sheep interviews Daniel Radcliffe

THE BOY WIZARD GROWS UP
An interview with THE WOMAN IN BLACK star, Daniel Radcliffe

At this point in my career, I’ve interviewed a fair amount of famous filmmaker types. Still, there was something, dare I say magical, about meeting Daniel Radcliffe - the man, now 22, who played the most famous young wizard the movies have ever seen and spearheaded the biggest film franchise in history. And what did I say to him first thing after congratulating him on his first post HARRY POTTER outing?

“I have to be honest with you; I probably wouldn’t have seen THE WOMAN IN BLACK if I weren’t interviewing you. I just tend to avoid horror films whenever possible really.” I couldn’t believe these words had just come out of my mouth.

Radcliffe’s response: “Honestly, if I weren’t in this film, I’m not sure I would have seen it either.”

Don’t take that out of context. Like me, Radcliffe tries to avoid horror films whenever possible because they “terrify” him. (He cites Stanley Kubrick’s THE SHINING as a personal favourite though.) In fact, it only takes a few moments with him to absorb just how excited he is about THE WOMAN IN BLACK, directed by James Watkins, even though he does not believe in ghosts himself.

“I have never seen a ghost nor do I expect to,” Radcliffe states. “There always seems to be a co-relation between those who have seen ghosts and those who believe in them. As I don’t believe in them, I find it highly unlikely that I will ever see one.” The young man’s sharp sense of sarcasm is unexpected but welcome.

As Arthur Kipps in The Woman in Black

Of course, there is another reason Radcliffe wants to share this new film with his fans. It is an opportunity for the world to see him like they never have before, without the spectacles and sans scar.

“I am under no illusion that people are going to see this film and think, ‘Oh my God, he isn’t Harry Potter anymore. This is a total fucking transformation!’” he says, rather astutely. This is when I lose my train of thought though because suddenly I can’t seem to focus on anything other than how "Harry Potter" just said “fuck”. He does elaborate on his point though. “I can’t focus too much on how I am being perceived at any one time. It’s not constructive for me to think that way. Once people are used to me popping up in other things, it won’t be so much of a difficult stretch.”

Smiling for the cameras at The Woman in Black premiere

One might also think it something of a stretch to go from working on a huge franchise like HARRY POTTER to a film that reportedly cost under $20 million to produce. “People always say to me, if I do a smaller film, ‘Bet it wasn’t like this on Potter!’ and my reaction is ‘No, it was worse.’ People assume that because we had so much money and time, that it must have been a really smooth operation. It wasn’t; it was chaos. All film sets are chaos. Organized chaos, but chaos.”

Still, it was his first time away from the film home he had spent years growing up in. Fortunately, there was a fair amount of familiarity for Radcliffe to draw from. “It’s very hard to work on Potter and then do another British film without knowing anybody.”

On The Woman in Black set

Radcliffe read the script for THE WOMAN IN BLACK on the last day of shooting HARRY POTTER AND THE DEATHLY HALLOWS PART 2 and started work on the film six weeks later, with four weeks of intense dance training in between for his successful Broadway run in HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING. I would’ve taken a year off personally but Radcliffe is clearly not the kind of guy who likes to sit still for too long. He could barely even sit still during the fifteen minutes we spoke.

“My thing is rather than getting back on the horse, why not just stay on it?” he quips like the cheeky, little Brit he is. Having met him now, I can see Radcliffe eventually riding that metaphorical horse right into the ground. That is, unless he doesn’t get the sudden urge to get off the horse and stand next to it naked first.