Tag Archives: fact

DVD Review: Morning Glory


The ongoing and increasingly shocking twists and turns of
the News of the World hacking scandal has prompted a complete rethink of the way we all think about the media. The public’s fury has rightly been fuelled by disgusting revelations exposing criminal practices that targeted ordinary
people or even the likes of vulnerable missing children. Prior to the game
changing news stories of recent weeks though, we were not all that bothered
about the odd tabloid listening in on the occasional romp or row between
footballers or actresses. An intense debate about privacy raged amongst some,
closely linked to the super injunction headlines from earlier in the year, but
for the vast majority of us the underhand tactics of the press were a given
that thankfully didn’t affect our daily lives.

But the momentous events of the past week have shown that
bad habits in an industry as far reaching as the media have to be taken
seriously. No one can avoid the press or the news in the modern world. Even if
you don’t buy newspapers you will blindly consume headlines or leave some bland breakfast show on in the background to help you acclimatise to the new day.

Morning Glory’s critical reception was lukewarm when it was
released in January of this year. It was universally dubbed a thoroughly ok
romantic comedy, riddled with flaws and sprinkled with just a smidgen of
appeal. In the light of the never ending phone hacking saga though, its message
is given far greater relevance and urgency.

One aspect of our relationship with the media highlighted by
the scandal, but buried under an avalanche of corruption and foul play, is
whether or not news has become too fluffy and meaningless. Defenders of certain tactics employed by the paparazzi say that the private lives of celebrities are only ruthlessly analysed because paying readers demand it. Whatever happened to “real” news items about ethical, humanitarian or political issues? It might still be possible to find some hard stories on the likes of Newsnight but in
the mainstream press, and on popular breakfast shows, the bulk of the content
focuses on fluffy items about rescue dogs or a woman who miraculously lost
weight by eating nothing except bacon.

Morning Glory is set in the world of breakfast telly. It follows Rachel McAdams as Becky Fuller, whose (somewhat strange) childhood dream is to make it to a big network as a producer of a news show. She loses her job at Good Morning New Jersey, where she was hoping to get promoted, and applies
everywhere until Jeff Goldblum calls her up and offers her the job at the
failing Daybreak, America’s least favourite start to the day. Becky ignores the
negatives like the bickering anchors and the nonexistent budget, choosing
instead to work as hard as she always has to make her dream a reality now she’s
finally at a network.

It doesn’t take long for Becky to stumble on, in her own bumbling way, the solution to Daybreak’s woes. She vows to get Harrison Ford’s legendary newsman Mike Pomeroy to replace her terrible male presenter, proving
in the process that you should never meet your heroes. The film follows her as
she sets about boosting the awful ratings of the show, which is just six weeks
away from being axed.

Morning Glory definitely has a whole host of things wrong with it, chiefly an uneven script with some dreary dialogue and pointless subplots. But it glides along averagely enough, throwing mostly unsuccessful cheap gags in your face. Its opening scene is a bafflingly awful way to start a film, which takes a sledgehammer approach to establishing that Becky is a busy
and clumsy character. Such weaknesses in the script let down Rachel McAdams, as she is for the most part a capable and attractive lead.

This is also a rom com with its fair share of positives however. It’s refreshing to see Harrison Ford having some fun on screen and most of the cast are good; even Patrick Wilson does alright with his underdeveloped love interest. There are also some belly laughs in the middle when the, far from sophisticated, physical humour is undeniably funny as the weatherman is put through his paces on a rollercoaster, all in the name of ratings. Then there’s the message behind it all.

The climax of Morning Glory sees Harrison Ford’s Pomeroy
trying to prove that there is a place for real, breaking news on morning
television. It is genuinely inspiring to see some substance injected into all
the ridiculous antics in the kitchen or out in the field. The hacking scandal
has given journalists and readers a much needed wake up call, hopefully in
terms of content as well ethical behaviour. Of course there’s a place for
entertainment and light chat, especially in the bleary eyed early hours, but
there is also always a place for enlightening fact and information. One need
not be sacrificed for the other. A great news story can also be great
television and great entertainment.

Morning Glory is far from faultless but when the credits
rolled it had won me over. It has an uplifting soundtrack, filled with songs
from the likes of Natasha Bedingfield and Michael Buble, and music from Bond
composer David Arnold. It may leave little time for subplots or romance to
develop but this does for once realistically show the all consuming day to day
life of a career focused protagonist. Above all this it is a fun romantic
comedy with something worthwhile to say, which is a rare thing these days. In
this way it mirrors what successful breakfast TV should be about (take note
Adrian Chiles and Christine Bleakley from ITV’s own Daybreak).

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Holy Rollers Film Review: Are stories “inspired by real events” killing creative cinema?


Waiting around on plush leather sofas with the nibbles before the screening of Holy Rollers, one of the laidback critics said; “this must be a young person’s film”. A few of the other veterans nodded and chirped their agreement through mouthfuls of crisps and gulps of Coke. They surveyed us seated young’uns; youthful writers and bloggers seemingly suited to this tale of wild, animalistic New York and Amsterdam abandon, starring modern rising star and Best Actor nominee Jesse Eisenberg. They began a conversation about The Hangover, prompted by Justin Bartha’s role in this movie.

It was a one sided debate that continued as we took our seats; a small posse of expert cinemagoers agreeing that they did not see the appeal or comedy in the outlandish drunken antics of middle aged Americans. For them its garish humour seemed emblematic of the sort of mainstream bile lapped up by the youth of today. Hollywood studios continually plump for safe, unintelligent films and when one of them catches on, they pounce on the premise to produce sequels. The Hangover 2 is on the way this year of course, spiced up with rumours of increasingly daft cameos.

Another filmmaking trend of recent years is the success of “inspired by true events” storytelling. Half of this year’s Best Picture nominees at the Oscars were based on actual events or adapted from existing works. Of the genuinely original creations born specifically for the big screen, one of the most impressive was an animated sequel in the shape of Toy Story 3. The Social Network, The King’s Speech’s only serious rival, represented another growing pattern; the events that inspire filmmakers are in the increasingly recent past. Historical drama like The King’s Speech is an age old staple but the reimagining of stories that were in the news not so long ago is a fresher phenomenon.

What an ever swelling chorus of commentators bemoans about this is that it’s lazy storytelling. The Social Network was undoubtedly excellent and an absorbing piece of art as a whole that captured something of the essence of our time. But it was so dramatised and adapted that it was almost a work of fiction, built upon very loose foundations of fact. Wouldn’t energies be better spent on new stories rather than the complicated and potentially offensive fictionalisation of recent history?

The trouble is that as the Oscars went someway to demonstrating, when films are based on something real and interesting they can prove to be more skilfully crafted and lucrative. I certainly wouldn’t want to miss out on films like The King’s Speech and The Social Network; they are a valuable, enriching and enjoyable part of culture. But they should not stifle the flowering of completely different and new tales. They should not be made at the expense of thousands of undiscovered, productive and powerful imaginations. They mustn’t kill off the storyteller.

Wow what a rant. You’re probably waiting for me to start talking about Holy Rollers. But this is the overwhelming thing that struck me about the film, and at once the key and limit to its success. It takes a mostly unknown true story from the recent past (1998) of Hasidic Jews in New York smuggling ecstasy into the States from Europe. It should be applauded for shedding light on this remarkable tale and this is one of the pluses of adapting the truth I suppose; otherwise forgotten personal histories are preserved on film. However when aiming for a reasonably faithful retelling, as the filmmakers do here, their execution is constrained and drama can be minimised. Holy Rollers was unavoidably predictable and failed to engage as a result.

For Eisenberg, playing real people is becoming something of a habit. The comparisons between his character here, Sam Gold, and inexplicably likeable Mark Zuckerberg in The Social Network, are there from the start. Gold is bright but trapped in the unfulfilling monotony of study, much like Zuckerberg, only here he’s training to become a Rabbi. Like Zuckerberg Gold craves an immediacy lacking from his life and is clearly reluctant to embrace his lifelong fate in the prime of his youth. There’s something geeky yet rebellious about him. On the other hand he wants to succeed in the way expected of him. He wants to rise through the community and avoid losing face by truly impressing the beautiful wife arranged for him by his parents.  

His best friend and neighbour, Leon (Jason Fuchs) is more dedicated and accomplished at his studies. Now and then Gold seeks to rebel against his failings rather than stick at it, and eventually Leon’s brother, Yosef (Bartha) is there to offer him a way out and considerable extra cash to impress his family and prospective spouse. He works for an Israeli drug dealer importing merchandise from Amsterdam via above suspicion Jews. At first Leon and Gold go together on the understanding that they are bringing back important medicine. When the truth comes out Leon is appalled and knuckles down to study. But Gold has got the taste for both the money and the lifestyle.

He starts to show his knack with numbers and profit to drug dealer Jackie, becoming more and more integral to his operation. He is intoxicated and confused by the teasing sexual charms of Jackie’s girlfriend, played by Ari Graynor. There are some awkwardly hilarious scenes between Eisenberg and Graynor where both really show their comedy credentials with pleasing subtlety. Gold’s religious upbringing collides with this new world and prevents him from fully embracing the hedonism and the drugs and the sex. His naivety leads to the breaking of whatever bond he had with the girl.

Aside from this intriguing relationship and sub-plot, the unravelling of the narrative is far too clearly signposted. The visual style of direction in the film remains unchanged throughout, becoming bland, dreary and uninteresting. Eisenberg’s performance on the whole is solid and he does his best with some big emotional moments, but they never really ignited my interest. His transformation from a young man stifled by his surroundings into one embracing an illicit freedom, and calmly instructing new smuggling recruits to “mind your business and act Jewish”, doesn’t quite sit right or convince. Having said this despite the similarities to his performance in The Social Network, he does show a slightly broader range and give a good account of his talent. The failings probably lie more with the script.

Bartha’s believability as the volatile Yosef is strong and there is something charismatic and mysterious about his character. But once again the limitations of the true story format prevent us from seeing him develop into anything that exciting. The premise and setting of Holy Rollers may be initially interesting but ultimately the trajectory of the story is all too plain from the beginning. It might be a faithful reconstruction and it has its worthwhile moments, but this is a film that feels sanitised and seems to only scratch the surface of issues that could be explosively entertaining with greater imagination and drama.

Zodiac


Today I rejoiced in the death of summer. Like a smug old miser I strutted contentedly amongst the pug faced, mourning proles, at once detached from and amused by their sodden gripes and moans. The streets were pelted a gloomy grey and everyone lamented the arrival of the dreary and the damp. I on the other hand basked in the murk and inhaled the invigorating moisture of decay. I smiled at the amber dying leaves on the trees through wet windows clustered with restless droplets. I watched the drones as they collided with other droids in the street and promised to meet up, both equally delighted at any sort of forthcoming event to disrupt the bleak routine, and felt satisfied with my own ongoing, indefinite ok-ness, which was somehow above the desperate need for meaning so evident here in their drizzle beaten faces. I would enjoy the death throes of autumn as they confined the summer to the past and await the renewal.

I suspect that this sort of contented and acceptable lonely misery is but a few misplaced steps from disaster. It’s not natural or healthy to find comfort in a puddle, joy in soaked litter or amusement in swaying, torturous supermarket queues. But such are the pitfalls of isolation and having too much time on your hands. Before you know it you’ll be getting such weird fulfilling highs and exciting kicks out of misery that you’ll be actively seeking out other people’s or worse dabbling in a little sadness creation.

So perhaps serial killers simply have too much time on their hands and so do the hacks that get fascinated by their exploits, like Jake Gyllenhaal’s character Robert Graysmith in David Fincher’s 2007 “lightly fictionalised” film Zodiac, of the Californian murders. Fincher’s latest project will star rising Brit Andrew Garfield and is a largely factual account about the creation of social networking site Facebook and the odd personalities behind it. Similarly Zodiac treads the ground of a true story and follows a number of insular, eccentric and withdrawn individuals who become consumed by the case and the need to break the code left repeatedly by the killer as the key to his identity. Indeed at times the film feels like a fly on the wall documentary following the investigation, flipping between various angles such as the police department and the journalists captivated by letters sent to their papers. The period detail is vividly executed and both Fincher’s direction and James Vanderbilt’s script must be praised for a striking realism. However the sizeable chunk of the movie that deals with the years in which the murders themselves takes place flashes by without focus, jumping rapidly through weeks, months and then years at a time, never quite deciding whether or not to follow the progress of the detective, the reporters or Gyllenhaal’s awkward, gifted cartoonist.

The disjointed nature of the first half of the film may not be Fincher or the script’s fault, as it may simply reflect events. The fact remains though that once Graysmith the cartoonist becomes properly fixated on the case the story is anchored and becomes far more engaging. During the first half of the movie Gyllenhaal’s character is introduced but then quickly becomes a periphery figure, only for him to become the much needed focus later on, with better opportunities for character development. Graysmith’s obsession drives a wedge between himself and his family, as he dredges up the past during a time when the Zodiac killer is not even active. He begins to piece together bits of the puzzle, bits the audience has already seen in the frenetic fast moving first segment of the movie. The film’s actors such as Mark Ruffalo, who plays his detective in a brilliant Columbo style, finally get the chance to act rather than simply move through events as Graysmith confronts them and tries to get them to confront their failures in the past investigation and to convince them of the importance of resolving the case. Robert Downey Jr also shines in this section after regressing to a failed drunkard from high flying crime reporter. If Fincher’s new Facebook biopic is as good as early reviews say then it is likely it follows the more focused approach of the latter part of Zodiac, as opposed to its wide ranging opening.

That is not to say there are not a number of good points about the first half of Zodiac, simply that it could have been better with clearer structure and better pacing. As I’ve said the film is always lovingly shot and the period sensually evoked, right down to the ear splitting rings of the telephones during high points of the crisis. There is also a piece of dialogue between police offers from different States over the phone that is at once humorous and sickeningly frustrating, as bureaucratic barriers and petty rivalry block an easy coordinated approach to handling the evidence. Mark Ruffalo’s Columbo lookalike Detective also forms a partnership with fellow investigator Anthony Edwards that is genuine and funny at times and makes the audience care, but sadly the film neither dwells on this relationship long enough for it become truly significant, whilst also lingering too long to damage the rest of the narrative.

The murder scenes themselves are perhaps not surprisingly some of the most gripping in the film and you sense Fincher had more creative freedom whilst shooting them, obviously due to the fact that these sequences had to be more “fictionalised” than others. The first murder is tense and creepy, with sexual undertones hinting at the killer’s motivation. The scene in which the killer kidnaps a mother and baby is distressing and chilling, with suspense hanging thick in the air. Not because you don’t know it’s the killer, the discrete camera angles and suspicious behaviour make this obvious, but because his reaction to the presence of the baby is surprising and what he does will prove just what a monster he is or not. Perhaps the most brazen murder and the one that truly kick-starts the investigation, the shooting of the cab driver in San Francisco, is filmed with a visual flourish reminiscent of Grand Theft Auto the computer game. Fincher has the camera follow the cab from a bird’s eye view as it passes through the bustle of the city, as the player views their vehicle in the early GTA games, with radio music blaring out and then interrupted abruptly by gunshots, and the slow motion splash of blood, followed by children’s screams and a 911 call.

All in all there is no doubt that Zodiac is a well made film full of decent performances and given the sensitive subject matter it was perhaps more important that it presents an accurate factual record than an entertaining story. However those looking forward to Fincher’s new fact based film will hope it pulls of the feat of both documenting history and making it exciting throughout.