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Bunch of Kunst (2017)
Sleaford Mods' hilarious, profound, vulgar music documentary is the best music movie ever made!
While I haven't heard the band for a long time, I first came to know their origins and how witty they would become with Jason Williamson's contribution to The Prodigy's "Ibiza." From thereon, I would give "Divide & Exit" a listen and hearing Williamson talk in a thick, somewhat Northern dialect ranting about weak wages and corgis made me laugh more than any Seth Rogen comedy as of late.
BUNCH OF KUNST is no different. Despite it's strangely vulgar title (just don't flip the 'T' in front of the 'S'), the documentary is more than just an excuse to get a beautiful-looking 18-certificate for "very strong language", it's an excuse to show one of Britain's most important musical acts in a long time.
Not since Boards of Canada and Future Sound of London have I paid much attention to a group. The Mods' documentary details their release and status as a 'punk'-oriented, anti-establishment act as they create their successor to the awesome "Divide & Exit", "Key Markets." Featuring Williamson putting on a towel like the Pharaoh and then seeing Andrew Fearn (the silent, lanky lad with the laptop) talking about canal boats is just comedy gold and very familiar too. Given their origins as an independent group, you feel some of their pain as they try to compensate both their skills and the need for money in the age of austerity.
If you like THIS IS SPINAL TAP or found HATED: G.G. ALLIN, you'll definitely love this un-PC, foul-mouthed, out-there music film that details someone that people might find as just another Streets, Fall rip-off or the next best thing since the Sex Pistols.
Review by,
Skinny Ebert (S.E.)
Bunch of Kunst (2017)
Sleaford Mods' hilarious, profound, vulgar music documentary is the best music movie ever made!
While I haven't heard the band for a long time, I first came to know their origins and how witty they would become with Jason Williamson's contribution to The Prodigy's "Ibiza." From thereon, I would give "Divide & Exit" a listen and hearing Williamson talk in a thick, somewhat Northern dialect ranting about weak wages and corgis made me laugh more than any Seth Rogen comedy as of late.
BUNCH OF KUNST is no different. Despite it's strangely vulgar title (just don't flip the 'T' in front of the 'S'), the documentary is more than just an excuse to get a beautiful-looking 18-certificate for "very strong language", it's an excuse to show one of Britain's most important musical acts in a long time.
Not since Boards of Canada and Future Sound of London have I paid much attention to a group. The Mods' documentary details their release and status as a 'punk'-oriented, anti-establishment act as they create their successor to the awesome "Divide & Exit", "Key Markets." Featuring Williamson putting on a towel like the Pharaoh and then seeing Andrew Fearn (the silent, lanky lad with the laptop) talking about canal boats is just comedy gold and very familiar too. Given their origins as an independent group, you feel some of their pain as they try to compensate both their skills and the need for money in the age of austerity.
If you like THIS IS SPINAL TAP or found HATED: G.G. ALLIN, you'll definitely love this un-PC, foul-mouthed, out-there music film that details someone that people might find as just another Streets, Fall rip-off or the next best thing since the Sex Pistols.
Review by,
Skinny Ebert (S.E.)
Her (2013)
This isn't your average romantic film but it is a high-concept hipster romance that was finally made for the right time, right place.
"Guess what the "future" (in a relatively nearer sense) may hold for your love life? Know whether sticking out with the one you physically love or is better off or not than the one you become attached to via technology? Could the film be a metaphor for online dating, phone sex, or a propaganda piece for those two things?
Her, Spike Jonze's experimental and Charlie Brooker's Black Mirror- inspired romance, is a quiet, mild-mannered, and potentially thought- provoking look into how man and technology can correspond and have a relationship together in the face of adversity and loneliness.
It examines the look of a man named Theodore (played by a confident, not so smug Joaquin Phoenix), a vocal (seems keyboards are a thing of the past in the future) letter-writer, who evokes an eccentric hipster chic about him as he settles through a divorce with his wife only to find escapism and compatibility one moment and thereafter with an operating system (OS) named Samantha voiced by every Joe or Bob's favourite, Scarlett Johansson.
Her, as a whole, manages to be a neat and safe ride but it does have its lack of thrills when the film boils down more to a conventional romantic plot line than a sort-of satirical take on "phone love" and "technological obsession" (this is notable during the gaming sequences and one phone sex scene which has, undoubtedly, an offensive and disgusting joke involving three sexually deviant acts not appropriate to said on here) but that does not mean it is not realistic enough. The emotions and catharsis feels believable and far beyond the hokey cues one may find in a generic romance.
I liked what Jonze (who is known to be a "music video" director) did with the design and location by creating an environment not so futuristic and believable (even if Shanghai is mixed along with Los Angeles in several shots which is peculiar and non-projection screens with finger-oriented gaming and voice-automated smartphones are still in development) and what he did with the whole theme of the film by making it stand out from a wave of Oscar bait and romantic films that are usually filled with gushy tears and recycled plot lines found on Lifetime.
Romance is a tricky game of sorts as I usually abstain from getting into any kind of affair, kiss, or sexual encounter of sorts and this film's technology-oriented premise and peculiar characters (Phoenix and Johansson that is) stood out for me also knowing that I have seen things which deals with similar themes like Black Mirror, the Kate Bush music video Deeper Understanding, and some episodes of Dexter's Laboratory. The others here including Amy Adams and Rooney Mara provide well-rounded performances as the encounters Theodore explores especially during the scenes where Adams' character who is a filmmaker and video game designer tries to showcase her documentary about sleep and a quirky game which involves a mother trying to be "perfect." There are some believably funny scenes and none of it feels forced or too eccentric to where I may find the whole hipster chic of it (which Jonze's fan base mostly consists of) annoying and pretentious too much.
The Black Mirror connection is not explicit but a possible inspiration for the script and execution of the film as Black Mirror utilises technology within its everyday look at lifestyles or near-by futures or dystopias to show how over-the-top matters of life could get. The differences here is that Black Mirror allowed to explore several subjects as a TV series and its technology-gone-mad angle is a lot more darker and bleaker than Her.
If more and more people were more like Theodore, I think the problem of overpopulation, divorce rates, infidelity, domestic violence, negligence towards children and women, and other relative issues maybe diminished while the focus of these issues may pertain but on a less crucial and problematic level like now. My futuristic observations maybe controversial and wrong but I wish Jonze would deliver some of these questions more into the film but the film as a whole was not terrible but felt a bit stretched and exhaustive more than I could ask for but nonetheless, the realistic parameters and treatment of love, the idiosyncrasy, and occasional humour stood out and it was altogether a respectable but not phenomenal film like how most of the critics put it out.
Her is not science-fiction (in the same sense as something like THX 1138 which some of the set designs might be based off for this film), Bicentennial Man, or Close Encounters of the Third Kind) but its aims are a bit futuristic at the moment but may come across some point in time around in the 2020s?
The Secret Life of Walter Mitty (2013)
For today's film goers, this is Inception but without the confusing action but it was worth the admission. A bit loose though
"My second time seeing a cinema-released film on Christmas Day since Django Unchained last year. What would you make out of life if you lived in a dream-like, lucid state of mind? Well, Ben Stiller responds to this question with this esoteric, psychedelic or hippie-influenced, and quirky remake of the 1947 film of the same name and film adaptation of James Thurber's magazine story. Ben Stiller as Walter Mitty seems like an earnest choice since his character, remembering from some clips and pre-evaluated knowledge, is not over-the-top, raunchy, or stoned as today's comedic actors would come across.
Stiller evokes a sort of Truman Show-esque vibe to this character and his peculiar episodes dealing with his dreams, his love interest, and adventures through Iceland, Greenland, and the Himalayas. Mitty is done in a way, and with some of the film's choice of environment and place, like an 80s or 90s film where there the technology is there but it feels minimalist and too kind to be out-there and a bit too rough and stylised to be considerably respectable to the older generation. Given this element, I found myself laughing little in this film but being intrigued by the cinematography and oddball events that Mitty encounters more than the humour alone. The Iceland and Greenland scenes were well-done and the beginning scene (which is cleverly done comedy by being subtle) but the scenes set in the Himalayas and elsewhere felt a bit stale and overlooked.
The plot does feel a bit loose too with scenes going on for quite a few minutes without any kind of intriguing traction or element of suspense and emergency which adds to the good but not always brilliant "hippie/psychedelic" label to this film (not to say, the excellent choice of David Bowie, nature shots, quotes of strength, and other pieces of music in it). It did not help that the film used the same title twice which could be an editing error in the opening credits and I honestly wish there could have been more dream sequences or ending the film like it was a dream as that concept flew over the cuckoo's nest 1/3 into the film. The possibly perceived anti-corporate, anti-TSA/pro- privacy, pro-nature, pro-culture message might be off-putting to some but it was done within the confines of exploring out of your surroundings and feeling life for what it is almost like a travel guide on Globe Trekker or a crazy episode of Anthony Bourdain: No Reservations but without the food or all-out vulgarity.
One thing that intrigued me more (not just how much product placement there was which was something that didn't bother me really but it was funnily done) was the PG rating (which is more appropriately granted here than a PG-13) for this film given it has no kid appeal and features language (ass, hell, damn) and adult humour (a heroin and genitalia joke) which might scratch parents' heads more for a PG than if it was another animated work from Disney or DreamWorks. Aside from that, I probably might have missed this film if it was not for the PG curio element to a film that looks like it would be another commercial PG-13 film aimed at adults these days. As a film, it works to be a modern-day homage and it does its job and does not squirm on over-the-top elements here which add to the film's dryly comic yet ultimately dramatic presentation.
It also works by allowing you feel like in a place other than somewhere else which is ultimately what Christopher Nolan's Inception did three years ago but considering how overrated and confusing I though of it, Walter Mitty (the two versions included, 1947 and 2013) was better done with the lucid concept. I watched this film during Christmas day knowing of a family relative's respect and admiration for the original and being from the new generation, I gave this title a chance and I was not disappointed as much as some of the critics have said. It was far from perfect but it was nicely done and the Iceland/Greenland scenes were worth the admission at least and the PG curiosity to it."
Last Vegas (2013)
Tired of The Hangover, why not take a capsule of Last Vegas? Freeman and Kline steal the show here!
"The last film I've seen in 2013. If you are tired of the whole Hangover shtick that has been throbbing your cinema screens for 4 years, wait till you give a chance and look no further than a better-written, much funnier, less mean-spirited, and somewhat more human take on four guys and life in Vegas with this film, Last Vegas (a pun of its own). Despite its joy and thankfully, the film does not promote gambling, alcohol consumption, or excess.
Freeman, Douglas, DeNiro, Kline, and a witty performance from Steenburgen all provide great and humorous performances as cantankerous old men reconciling after Douglas' character (Billy, from California) tries to invite them all to Vegas in light of his upcoming wedding. The film soon boils down to a story about trust, loyalty, and how friends can make irrational decisions for the sake of proving something but the film never deters to a level where the drama overemphasises the script and the comedy reigns high (which is what The Hangover Part III did not manage to do very well with its bizarre mix of dark comedy, crime thriller, and sex farce).
While the film may seem Hollywoodised and sentimental at parts, I did not get this reaction but it felt the tone, treatment, and the whole film was done just right. All of the gang (especially the normally dry and intelligent Freeman) bring their relaxed chemistry into the film and provide some hilarious scenes involving a VIP entry, dealing with some young egotistical show-off, Freeman walking out of his house, and getting drunk off martinis.
It is not a perfect film but it certainly is a nice treat for older audiences to reconcile their past and feel like living again in a similar way that The Bucket List achieved this feat. Unlike another film that deals with reconciliation and pastime memories/behaviour like The World's End (1990s instead of the 1950s), this is not a fantasy or an outlandish scenario piece and nor does it have the kind of aggressive raunch (but this film does have quite a few sexual references itself too) or violence found in The Hangover too making it more appropriate for the 50+ crowd."
Philomena (2013)
The performances are what make the film shine. Dench steals the show more than Coogan!
"I would not have gone seen this film if it was not for Steve Coogan's (known for playing the cantankerous old git, Alan Partridge) role in this film as actor, producer, and screenwriter. Despite his comic leanings, he is made together a respectable but not brilliant dramedy about a woman who is trying to find her adopted son on a self-discovery journey across Ireland and America.
Philomena, inspired by true events (cannot always be trusted), takes much of its pride and well-crafted skills with Judi Dench's performance as the title person where her banter, fears, and witty dialogue keep the film going on. The film's multinational locale is a plus point for the film but I will admit it does utilise very little on the American side and more on the Irish side but this is consistent with the framework of how events turned out (so to speak) and where Philomena Lee's child was adopted.
The mannerisms and humour were very intriguing adding in Alan Partridge (a-ha!), I mean Coogan, to play Martin Sixsmith was a better idea than I could expect but Dench steals the show here. The most important parts of the film are their screen presences and that is what kept me on the seat and how witty the story was even in its dramatic confinements where the film takes us to deep, heavy issues like Catholic order of nuns, prayer, sin, and birth of a newborn (which are viewed with a critical lens but not a vilified one here) and loneliness which all accumulate the mood for this film and much of what is going on is explanatory and felt like a basic puzzle altogether in one.
The political angles of the film (with its mockery of spin doctors, the press, religion, Republican party/GOP, ethnic stereotyping, and homosexuality) could put off some people but I felt it was natural (especially in how the dialogue is used in the film) and well-done on the part of Coogan to have a bit of a Chris Morris type of tongue-in- cheek without exactly being as nasty or vicious as Morris. The criticisms are apparent and it mostly has due in part with the short length (for a film with such two enjoyable actors, 95 minutes is not enough) and slightly uneven reliance on drama over humour has rendered the film a bit basic, sentimental, or televisual but at least, with all due respect, was not as frustrating or annoying as Stephen Frears' (the director here) other work, The Queen.
If you are ever in the mood for something wrapped and boxed up in a bow on TV or want to feel connected with your grandmother (which the film was advertised and marketed toward the geriatric or elderly), why not pop on Philomena on the DVD or Blu-ray. It has enough tearful moments, points to discuss about family and loss, and satirical edge/humour to call for 'mild entertainment' at home. A film with a similar approach but with more comedy (about a generation-gap journey by road) called The Guilt Trip, with Seth Rogen and Barbra Streisand, is recommended too."
Alan Partridge: Alpha Papa (2013)
I wanted to like it but it didn't deliver. Dragged on a bit too much. At least it was better than The Inbetweeners Movie
"While much anticipation was made out to go see Alan Partridge: Alpha Papa, I was not available at the time to see it as a result of me being in England in May to June in 2013. I was a fan of I'm Alan Partridge and his Sky Atlantic special, Welcome to the Places of My Life, and that is what surged up the hype there.
After its DVD release, I had the opportunity to catch it while I was not residing there and unfortunately, it was more of a state of confusion and disappointment than a sign of the film being ultimately terrible or ultimately brilliant. Nothing to report home about other than a ranting middle-aged man working on a radio station who cares about getting a promotion and is confused whether to be real with himself and, in the film's scenario, protect the hostages or fight against a psychopathic recently fired radio presenter.
What made Alan Partridge great was the uncanny dialogue and wit about him and this film offers a lot of his bizarre sense of humour but it cannot suffice for very long once the film wears thin and shifts gear into a Quentin Tarantino-esque and slightly frustrating film of long- winded dialogue and bizarre stop-start moments. As a TV series and within regard to his second series or in the constraints of a fake talk show, this works but as a film, it does not and it made it frustrating to enjoy and by the time the action rolled, I felt exhausted much in the same way as I felt watching The Guard, Rocknrolla, or Django Unchained (films with somewhat similar approaches).
With Alpha Papa, this now compliments a wide range of TV adapted films that might have sounded great but were lagging function and interest (The Simpsons Movie and the two Rugrats movies are exceptions) as the camera rolled on with In the Loop (a rather boring and lame film that was more intriguing than Dr. Strangelove but not very engaging and too scatterbrain) and The Inbetweeners Movie (a repeated idea of a film that worked better with Kevin & Perry Go Large than this boring, useless rip- off). As a result, it was a third-time striker and with some anticipation to see David Mitchell and Robert Webb in Magicians and Harry Hill in his own The Harry Hill Movie, I will think twice and maybe likely to skip those two out of respect and disappointment with these kinds of films or their approach. However, Magicians is its own product not based off a TV series but Mitchell & Webb are known to be on Peep Show which I do like and I hardly watch Harry Hill's TV Burp to say the least and an open mind might help make it good (like it was for Alien Autopsy, Mr. Bean's Holiday, Hot Fuzz, The World's End, and Kevin & Perry too, films with TV-based actors in them) I do have a sense of humour and Alpha Papa delivers in its first 15 minutes (with some knock- out jokes mocking film snobs and a nationalist party) but when the film shifts gears and becomes generic, so does Coogan's performance as the entertaining, idiosyncratic character himself.
While the film may appeal to loyal fans, it did not appeal for me and I am sorry but Alpha Papa, with the anticipation it had and the weak, strange delivery it provided, I cannot recommend it and for those who have never seen Alan Partridge before, this will surely disappoint and provide a few chuckles to the uninitiated.
One key difference though that made Men in Black 3 worse than Alpha Papa was because I have seen the MiB films since childhood, I was only a fan of Alan Partridge and Steve Coogan since around 2010. That is about it! Maybe my mind will change but for now, I'll stick to original products. Well, at least it was better and funnier than some of the stuff coming out today."
Delivery Man (2013)
Don't let the "remake" word fool you. It is a respectable carbon-copy and it works best if you speak English
"This one was an unexpected choice as I did not anticipate to see it coming soon and I seen on the judgment that I could do multiple things near the town of the cinema. Nothing to brag about to the choir but Vince Vaughn's performance as an estranged and enthusiastic man (David Wozniak) in the American remake of the film, Starbuck or Delivery Man, is what keeps the film going.
Some of the things that made a draw for me over the over-hyped, overrated, and annoying Hunger Games: Catching Fire was Delivery Man's closeness (as rumored by Ken Scott, the director behind the original and this remake) to the original, Vaughn being a funny stand-alone comedian even without a posse or Owen Wilson, and the idea that I would get some of the American jokes better than the exclusively French- Canadian/Quebecois ones.
Nevertheless, it is the story of practically a schmuck and loner who wants to lend a helping hand and his persona captures it well and good performances all round from the encounters Wozniak meets. However, the film does suffers on the corners a bit by starting off too suddenly with the biological father of 533 children case with the mysterious intruder and the pregnant wife toward the end (as I do not support or believe in marriage or childbearing when you know the world is overpopulated and the divorce rate is 50%+). It felt encouraging to know the similarity paved for its remake (which are forms of filmmaking I have hang-ups about) and how the sperm donor concept would work out for comedy without it being a raunchfest (a la Hangover).
I wish there would be more of Vince Vaughn's crazy antics and humour present here but this film is commendable and believable enough in a way like he was in The Internship, a pretty good high-concept comedy that was lambasted and mocked by antics unfortunately. While the film is fine and watchable from the start, it does suffer from things that are personal and possibly the whole idealism element and happy ending did not give it the edge it needed given Vaughn's persona.
Still, considering how much Catching Fire will fill up the auditoriums, why not pay $10.50 to go see Delivery Man (or see the original on Netflix) or even Philomena, another comedy-drama of epic proportions, instead."