HIGH RISE : Friday 26th August 2016.

'HIGH RISE' which has had a limited release in Australia, I saw late last week and is based on the 1975 novel of the same name by J.G.Ballard. This Sci-Fi dystopian drama film is Directed by Ben Wheatley and is set in the time that the source novel was written. Produced by Jeremy Thomas of the Recorded Picture Company, who had wanted to turn this into a film since the '70's, and finally found a Director to do so in Wheatley, when the latter started looking at who held the film rights to the book back in early 2013. The film premiered at TIFF in September last year, opened in London in mid-March and arrived on Australian shores earlier this month having premiered at the Sydney Film Festival in June. For many years the book was said to be unfilmable, but then that was said too of Ballard's 1973 novel 'Crash' which was successfully made into a film by David Cronenberg in 1996 featuring James Spader and Holly Hunter. I guess you'll have to decide, but so far critics have been polarised by this one, and it's taken just US$4M.

As the film opens we are greeted by Dr. Robert Laing (Tom Hiddleston) in what seems to be his trashed apartment. He sits on the balcony looking the worse for wear with a white Husky dog, petting it, before killing it (off camera) and spit roasting it (in camera). We then go back three months in time and recount the steps to what led him to this day and this circumstance. Three months ago successful consulting neurologist Dr. Laing moves into the High Rise apartment block - a forty storey tower block on the edge of London that represents the epitome of modern living during the 70's. It is one of five, and the first to be commissioned.

On the upper floors live societies rich and elite, while on the lower levels reside more common middle classes. The upper levels offer its residents a gym, swimming pool, spa, supermarket, sculptured roof top gardens and a primary school giving residents no reason to leave other than for work. The apartments are fitted with the latest in design and modern conveniences. Laing has moved into an apartment on the 25th floor - he is alone. On the first day, Laing falls asleep on a recliner on his balcony in the sunshine, only to be looked down upon by a single mother neighbour living directly above him on the 26th floor, Charlotte Melville (Sienna Miller) who takes an instant attraction to the new kid on the block.

Sniffing around Melville like a dog on heat is Richard Wilder (Luke Evans) a documentarian film maker who lives on a lower level with his heavily pregnant wife Helen (Elisabeth Moss) and children. Laing gets to know Wilder and the two soon become friends as well. Wilder has a huge chip on his shoulder and begrudges those living on the upper levels, while he resides on the lower levels in a state of near chaos with a wife he can take or leave and a bunch of kids that he seems to tolerate. He is very much the dominant male and ready to pick a fight with anyone it seems.

Within a few days of taking up residence, Laing is summonsed to the upper penthouse level where lives the architect of the high rise development - acclaimed Anthony Royal (Jeremy Irons) with his wife Ann (Keeley Hawes). After an exchange of social niceties and an overview of Royal's philosophy behind his design for his iconic development, Laing is invited to an 18th Century costume party to be held on the rooftop in a few days time - a perfect excuse to meet his fellow neighbours.

In the meantime, working at a school of physiology Laing is cracking open a human skull in front of three students looking on. One student, Munrow (Augustus Prew) collapses when Laing peels back the facial mask and takes a saw to the skull. Fearful that Munrow may have sustained some head injury during his fall, Laing orders a brain scan as a precautionary measure. When the day of the costume party arrives, Laing attends but wearing business suit and tie and instantly is out of place with those others dressed a la 18th Century aristocracy. Laing discovers Munrow is in attendance and is in fact a resident of the high rise too, but is derided by Ann and other guests, including Munrow, and is promptly thrown out of the party for being non-conformist. Laing is shown to the elevator, and promptly gets trapped for several hours due to a power failure.

At a game of squash the next day between Laing and Royal, the architect simply dismisses the outage as the building settles, together with the water supply being shut off and garbage chutes becoming blocked . . . although such occurrences are becoming more frequent! A few days later, Laing meets with Munrow to give him the results of the brain scan, which have come back clear, but Laing tells him differently saying that they 'found something' in retaliation for being humiliated at the earlier party. Munrow is distraught by this news, and the next evening during another power failure which sees decadent drunken debauchery partying in the hallways and apartments, Munrow hurls himself off a balcony 39 storeys up, landing head first on the bonnet of a car below.

Wilder the next day finds it disturbing that the police never called to investigate the death of Munrow, and sets about making a documentary to expose the injustices of the high rise system, and how life within it has deteriorated so rapidly. Law and order within the building start to crumble at an alarming rate, as infrastructure begins to fail with ever increasing frequency and for prolonged periods of time. Tension between upper and lower levels begins to rise.

Violence and brutality are the new norm, the supermarket is ransacked down to the bare shelves, food becomes more scarce and sought after by the day and a class war fare breaks out between floors. Some residents try to barricade themselves into their apartments, while others go on the prowl robbing and killing anyone who gets in their way. Society soon breaks down within the high rise and it becomes survival of the fittest. Laing shows signs of remorse over the death of Munrow, and begins to become unhinged himself amidst all the carnage and chaos going on around him, to the point where he pummels someones face in over the last can of grey paint in the supermarket so that he can redecorate his apartment.

Wilder meanwhile is intent on getting to Royal and he sees the high rise designer as the architect of the chaos and break down of civilisation within it. Some of the upper floor residents including Royal see Wilder as a threat and try to coerce Laing into lobotomising him. Laing conducts a basic psychiatric test on Wilder and surmises that he is in reality probably the sanest man in the building and refuses. Wilder makes it to the penthouse level and in a scuffle shoots Royal dead. Wilder in turn is stabbed to death by Ann and a collective of upper level wives who have got together to establish a new world order within the high rise. This brings us back to that opening scene where a sense of calm is now descending on the high rise as power is restored and the violence has subsided. Helen gives birth to her child, and Laing and Charlotte lie in bed debating that what has happened within their high rise will undoubtedly occur in the second tower.

I can see why this film has divided critics. It is not an easy watch and won't be for everyone. Wheatley captures the tone of the '70's perfectly with its zeitgeist and pre-Thatcher era, and Hiddleston and Evans in particular seem to lavish in their unhinged, debauched and destructive roles as the previously pristine building and everything it stood for descends into a cluttered, grubby, bloody and lawless wasteland. This is not a happy film and it does not have an upbeat or optimistic ending either, but it is well delivered as a film set in the past and about a possible future seen when that future is now a reality and its past predictions are upon us.

-Steve, at Odeon Online-

What's new in Odeon's this week : Thursday 10th December 2015.

Last week I gave a quick snapshot of the first Awards Ceremony of AACTA (Australian Academy of Cinema and Television Arts) as presented on 30th November with its film accolades for those working behind the camera; with the second ceremony to be held on 9th December for those working in front of it. On that evening nine film awards were presented with another six this week, and both events are held at Sydney's Star Casino. In the meantime however, it has been announced that Australia's very own Cate Blanchett is to be the proud and very worthy recipient of the AACTA Longford Lyell Award, which is presented to those who have made a truly outstanding contribution to the enrichment of Australia’s screen environment and culture. This most prestigious award (named after Australian pioneering film-makers Raymond Longford and his partner Lottie Lyell) and the highest honour to be bestowed by AACTA will be presented on Wednesday evening by Hugo Weaving and Richard Roxburgh with personal tributes from Gillian Armstrong, Martin Scorsese, Robert Redford, Ridley Scott and Ron Howard amongst others. For more go to : www.aacta.org

There are slim pickings in movie theatres in the week ahead with only limited new content coming our way, although there are still plenty of offerings out there on general release that has been either Reviewed, Previewed or both in previous Blog Posts on these humble pages. I guess it is the calm before the storm of a certain much hyped eagerly awaited and highly anticipated inter galactic saga that continues the franchise that started almost forty years ago and which has its release in just one week from now, and of course there is a plethora of new films coming our way at Christmas and early in the new year. For those, you'll have to keep reading, but until then, we'll Review what there is this week. And so this week we have just one new film of the high stakes gambling persuasion set amidst the deep southern USofA that is your not your typical gaming & wagering offering.

As usual you are cordially invited to leave a parting comment once you have sat through your movie of choice and formed an opinion of what your have seen up on the big silver screen - good, bad or indifferent, we'd love to hear from you! You can do so below this or any other Post in the Comments section that follows every Post. In the meantime, enjoy your movie.

MISSISSIPPI GRIND (Rated M) - Written and Directed by Anna Boden and Ryan Fleck, this film had its initial release at the Sundance Film Festival in January this year, and its Stateside release in late September, so it has taken a while to reach our shores Down Under, although it was shown too at the Melbourne International Film Festival in early August this year. Originally Jake Gyllenhaal was linked to the project way back in 2012, but dropped out to be replaced by Ryan Reynolds. And so this story is one of gambling in America's deep south centering around New Orleans and the road trip to get there stopping off at various casino's, racetracks, bars & clubs en route.

Gerry (Ben Mendelsohn) is a down at heel, down on his luck, down in the dumps gambler on a losing streak but still chasing his losses looking for the big win that will reverse his fortunes and set him up. Gerry meets up by chance with Curtis (Ryan Reynolds) a young buck, with luck on his side, a twinkle in his eye, and an easy come easy go outlook on life. Soon Gerry's luck begins to change for the better and so the two team up with Gerry believing he has found his good luck charm in Curtis. They leave Iowa and head to New Orleans where a high stakes poker game promises rich rewards, and whilst en route the two get to know each other, form a bond and uncover what motivates them and what traits underpin their individual characters. If you are expecting 'Casino' or 'The Gambler' you'll be disappointed, this it ain't - more a character study of what drives the gambling psyche. Sienna Miller also stars.

If this film is for you or not, or any of those currently in circulation, share your views with the movie going world here at Odeon Online, and in the meantime, do you bit to keep movies alive.

See you at the Odeon.

-Steve, at Odeon Online-

BURNT : Saturday 7th November 2015.

Having worked in Hospitality for most of my career in and around kitchens, chefs, restaurants and food service in various guises, you can imagine how interested I would be in seeing 'BURNT' which I saw over the weekend. It is intriguing to see how Chefs and Cooks are depicted on the big screen. It is after all only really in the last five or so years that we have seen these types featured in the movies since a few of those who have excelled have risen to celebrity status, and with the advent of the plethora of cooking shows on television and the inordinate amount of cook books there are for sale, it is hardly surprising that Hollywood would latch to the heat of the kitchen. All that said, if it helps raise the profile of food, the industry, different cuisines and produce, and the people working in it then this must be a good thing, but is it good for Hollywood? In the case of 'Burnt', not really - because this film is half baked only - golden brown and crisp on the outside but soggy and undercooked on the inside!

What 'Burnt' does for us is take us into the hallowed territory of maybe the top 1% of all restaurants globally. It is here where the two and three star Michelin establishments reside, where the Chef's and Cook's toil away relentlessly but enjoy Rock Star status for the blood, sweat and tears they have to give working 20 hours a day to reach the zenith of perfection in their culinary craft. And it is here too where these famed restaurants as beautiful as they often are, are big holes in the ground into which the owners shovel money every day (and lots of it) with only a very small margin of return, if any!

And so it with this US$20M John Wells Directed culinary caper that sees fallen from grace former two Michelin starred Chef Adam Jones (Bradley Cooper) having lived the celebrity chef status in Paris for all its worth with sex, drugs, alcohol and rock 'n' roll crash to the bottom only to rise again  to regain his reputation, his credibility, his self-worth and a third star. We learn through back story dialogue between the characters that three years ago things got badly 'burnt' for him in Paris when he went off the rails, cost his restaurant its two star status, his team lost their jobs and then spread far & wide, and he went AWOL presumed by many contemporaries and critics to be dead. He surfaces in London having served a self imposed penance to shuck one million oysters in some seafood joint that he promptly walks out of when his milestone is reached.

He emerges after some chicanery in the kitchen of Tony (Daniel Bruhl) in London at The Langham Hotel where he delivers a commitment to take it to three star status. Tony's father (the one with all the money) agrees and so the kitchen is remodelled, Jones assembles his brigade of new and previously worked with talent, and the restaurant relaunched. The first night all goes pear shaped when guests no-show, the food is below expectations, and the write up in the press is less than favourable. Jones is the consummate artist, perfectionist and after service what follows is a Head Chef rant at his brigade the likes of which I'm not sure you would see in any kitchen anywhere . . . not even Gordon Ramsay's! These days with industrial relations compliance, human resource guidelines, and fair work requirements Jones would face an instant walk out and be hauled up in front of some IR Commission on the grounds of workplace harassment, bullying and intimidation . . . no matter how good he thinks is he! But I guess this is Hollywood after all, and you gotta give the audience what they want!

As time progresses the kitchen bridge settle into their routine, they begin to work cohesively, and a flame of romance starts to burn between Jones and his recruited Sous Chef and the only female in the kitchen Helene (Sienna Miller). There are other story sidelines here too that surround Jones fierce rivalry with Reece (Mathew Rhys) former colleague in Paris and now the equally fiery, temperamental talented London Chef at the three star 'Reece'. Additionally, there is Michael (Omar Sy) who is recruited as a Chef de Partie by Jones but back in Paris three years before Jones called the Heath Inspectors in and closed down his restaurant - beware the hidden agenda behind Michael's acceptance to join Jones in his kitchen that manifests itself when least expected!

Also there is the former working relationship with Tony, gay, but the best Maitre D' in the country and therefore somewhat forgiving of Jones' kitchen antics. Jones' drug addled past also catches up with him and as two heavies appear from time to time demanding payment on a drug debt which Jones cannot deliver on so he gets roughed up on the most demanding of days. There is also his former love interest and daughter of his recently deceased former employer in Paris, Anne Marie (Alicia Vikander), and then Helene's struggles as a single mother juggling her commitment to her young daughter Lily, and the relentless demands of the kitchen and Jones. Let's also not forget the therapy that Jones has to undergo with Dr. Rosshilde (Emma Thompson) every Friday morning and if he misses a single session all funding to his kitchen and his dream will cease immediately. And, sitting over all of this is the expectation of the eventual visit of the Michelin Men to rate the restaurant for the famed guidebook.

The gloss is here with a beautiful restaurant, an equally beautiful kitchen, the highest standards of culinary expertise and food porn aplenty delivered with an insight into the seemingly never ending hours of experimentation, creativity and long days and nights spent rattling the pans over a hot stove, traipsing through the markets in the early hours, and seeking inspiration from other eateries. But despite all of this it's still a half baked underdone soufflé of a film. I found the Jones character difficult to warm to and relate to, his violent bursts and abuse in the kitchen completely overcooked, the final Michelin visit and judgement just glanced over, and the Hollywood-ised account of the finest of fine dining restaurants and what goes on in and around them a little too hard to swallow, but, there are a few redeeming feature along the way!

You don't need to see this on the big screen and can easily wait for the release of the DVD and Blu-ray or download it when available. I would say that this is a case of medium-rare, rather than well done!

-Steve, at Odeon Online-

AMERICAN SNIPER : Tuesday 27th January 2015.

Nominated for six golden statues at the upcoming 2015 Academy Awards, I saw 'AMERICAN SNIPER' earlier this week at my local multiplex with a bunch of mates. Like the other films that this one is up against in the Best Motion Picture and Best Actor categories this is a very solid screen telling of this true story set against the back drop of the War in Iraq in the aftermath of 9/11. Directed by Clint Eastwood, this was at first attached to Steven Spielberg, and I have to say I think this would have been a very different film had Spielberg not passed it up, despite his success with the likes of 'Private Ryan' and 'Schindler's List' - his other dramatic war time fare.

Here Eastwood has returned to the form we have not seen in a while, demonstrating his prowess behind the camera with a deft touch that sticks to the fundamentals of the story, does not over dramatise, and concentrates on the main character traits of his key subjects against a backdrop that is gritty, intense, emotional and immediate. Having not read the book upon which this film is based, I am told by those that have that there are some key departures from those written words - but hey, that's Hollywood and sometimes you can't let the truth get in the way of a good story!

And so this is the story of Chris Kyle (played out brilliantly by Bradley Cooper and never better) - a small town Texan kid growing up in a disciplined environment with his subservient Mum & strict God fearing authoritative Dad, and younger brother with dreams of becoming a cowboy. He attends church, respects his parents and his elders and learns to shoot from a young age - killing his first deer on a hunting trip with his father when he is about ten years of age. Growing up he leads a country life as a cowboy with his brother, drifting in & out of relationships, drinking beer, and riding rodeo. In the lead up to his 30th birthday he sees news footage on the TV of a terrorist attack against Americans on foreign soil from an unknown enemy - this prompts him to join the Navy SEALS to help safeguard his beloved country.

What follows is the obligatory training camp montage where he is trained to within an inch of his life, and toward the end of this he meets Taya (Sienna Miller) in a bar, and they eventually marry. Their marriage comes in the immediate aftermath of 9/11 and following the wedding and a brief honeymoon he disappears off to Iraq on his first tour of duty as the 'American Sniper' of the title.

His first kill on active duty is a young boy who exits a building with his mother - beneath her clothing she conceals a large looking anti-tank grenade which he identifies through his rifle sights. The woman mishandles the device as they move toward advancing US soldiers and an oncoming tank amongst the rubble of a war torn city. The boy runs with they grenade lurching toward the tank but is taken out by Kyle, and then the lads mother, in quick succession before the missile can reach its intended target. This sets the tone and tells us we are witnessing a cool, calculating, conscience free soldier doing what he does best, and protecting his colleagues, his country and his family ultimately, and can do so without hesitation. As his first tour progresses Kyle gains a reputation for his sharp shooting and in so doing saving the lives of countless fellow soldiers who all feel a debt of gratitude toward him, earning him the moniker of 'The Legend'.

He returns home after his first tour and Taya is pregnant with their first child. Following their son's birth, Kyle returns to Iraq for his second tour for more of the same - taking out insurgents with sharp shooting military precision time and time again. He does so a third time and then a fourth and amassing a confirmed kill record of 160, making him the most successful sniper in US military history! But each time he returns home, the emotional scars of battle are deeper. Kyle is fractured, distant, uncommunicative and clearly the strain of his job, what he has witnessed and the pressure to live up to the expectations of a 'hero' are a very heavy burden takings its toll on Taya, his young son and his second child, a daughter.

He is a driven man - driven by his his duty to God, to his country and to his family - in that order, and, to take out an insurgent sniper who is acting against him, and who is intent too on taking out Kyle. This sniper has become Kyle's own private obsession and partly the reason why he feels compelled to return because he stands in the way of a high-level evil drilling killing lunatic of a man known as 'The Butcher' and has been responsible for killing many of Kyle's buddies in the line of active duty. We learn that the insurgents have placed a significant bounty on Kyle's head, and so it is his personal crusade to either kill or be killed.

All of this continues to take it's toll on Kyle's mental and emotional state that he bottles up inside him as each tour comes & goes and he witnesses more & more the horrors of modern day combat and close quarter warfare. Eastwood doesn't spare the body count either on each side as friends and foe are sacrificed all in the name of freedom, but, there are no political statements here, no flag waving, no Uncle Sam spraying Iraq with a can of whoop ass! This story is Kyle's story, told through his eyes and the impact of war upon one man and the repercussions of it on those closest to him. Cooper gives a bold and convincing turn as the war torn, battle scared, emotionally fractured soldier just doing what he thinks is right. Sienna Miller too is solid as the left at home wife and mother torn between her love of her husband and her family but unable to reconcile what he does, why he does it, and for whom ultimately.

A must-see film that ranks up there with 'The Hurt Locker', but seen from a very different perspective, and probably one of the boldest accounts we have yet seen on the silver screen of the Iraq War and its direct and indirect impacts.

   

-Steve, at Odeon Online-