No one likes disappointing a friend. I’m sure “stop letting friends down” or “make more time for people I care about” will rank highly amongst the more realistic New Year’s resolutions made this January. Imagine my irritation then when, just days into this New Year, a film of my choosing was a source of both disappointment and bafflement as I met a friend for the last time in at least weeks, perhaps months.
There’s nothing quite like sharing fear. Love might come close, maybe, but fear is much easier to talk about afterwards and grows funnier with hindsight, whilst love’s sadness merely mellows with age. What could be better then, than a horror film send off? Where better to have it than a dark, secluded, silent spot in the wind battered countryside? What better concept for the story than a weird mix of mysterious murderers, seeking salvation from their sins in the supernatural, founding an isolated community and terrorising an outsider to protect their secrets?
I was anticipating a creepy, jumpy thrill ride through shocks and secrets of unspeakable evil. Or something to that effect. Moss is a Korean film and I was therefore expecting it to be free of any British sensibility or pretentious European limitations. I’d heard Korean horror was something to be genuinely feared and was expecting a double barrelled fright fest.
Instead I’m not quite sure what it was we got. It was certainly long. Only just less than 3 hours long, in fact. Moments in the film were clearly intended to be terrifying but I think that Moss’s marketing campaign, which places it firmly in the genre of horror, was misguided to the say the least. But then again I’m not sure what else to call it. The plot is evidently meant to be a complex web of revelations and reverses but I was left, at the end of the marathon runtime, feeling like I’d learnt nothing new. If this is a mystery there is precious little to start with and no more by the end.
The drawn out story follows Yu, who arrives in a remote community after his estranged father (also called Yu) suddenly dies. We learn through regular flashbacks that the older Yu had some sort of spiritual gift, which maverick Detective Cheon decided to harness in order to rehabilitate killers. For young Yu, arriving in an odd and small village of eccentrics, doubts continue to hang over the nature of his father’s death. Did he fall from the land of the living or was he pushed? What exactly was his father doing in the middle of nowhere with this man called Cheon, who everyone appears to worship despite an aura of danger surrounding him?
Moss meanders through themes as diverse as corruption and rape, spirituality and bureaucracy. It never succeeds as a horror because the monsters are in plain sight from the start, with most of them succeeding only at being hilariously inept. One character in particular is so bumbling that had the script tossed him a few innuendos we could have been watching “Carry On Korean Conspiracy”. The lighting undermines any potentially scary moment, even when the soundtrack is trying its hardest to initiate some jitters. The dialogue, at least when rendered as English subtitles, is expositional, dull and far from conducive to horror.
Moss fails to manage a single scare and even more importantly as the story drags endlessly on; it never makes you care either.
Ideally I like to write my reviews shortly after I’ve watched a film, as I’m doing now. First impressions are important right? I think recording that instant reaction can be valuable, especially for readers dithering over whether to see something. Of course taking more time to chew over the substance of a movie can also have its advantages. It might help me to get my head round it and make some more insightful points. But somehow I don’t think I’ll ever get my head round Memento.
The protagonist of Memento, Leonard (Guy Pearce), certainly couldn’t make it as a film reviewer. And I’m not saying that because it’s a particularly difficult task with insurmountable challenges. In fact normally I’d take the view that anyone could do it and that’s what makes cinema so engaging in the first place. But Leonard is not just anyone. For him remembering the plot of the most transparent Hugh Grant picture would indeed be an insurmountable challenge. There’s an advertising slogan that reads “Impossible is nothing”: this is literally true in Memento. It would be impossible for Leonard to write a review because he would remember nothing about the film. Not even Hugh alternating between “gosh” and “golly”.
Leonard suffers from a rare condition which basically means he can’t form new memories. I say “basically” but if you watch Memento it’s rapidly clear that his day to day existence is not a simple matter. Repeatedly Leonard tells us, via voiceover or mysterious conversation, that through his mastery of routine, instinct and a system of writing down “facts” as they happen, he has conquered his inability to save memories to the mainframe of his brain. But as the story progresses things that seemed certain prove to be far from it. Leonard’s quest to find his wife’s killer, and the man who whacked the talent of remembering from his skull, gives even the most ordinary encounter life and death importance. If Leonard draws the wrong conclusion from something and writes it down for future reference, he could end up on a path that causes him to kill the wrong man.
With last year’s hit Inception, Christopher Nolan reminded us that before his skilled reinvention of Batman for the mainstream he had a reputation as an experimental narrative trickster. Inception was his first film since The Prestige, which had twists and turns aplenty in the plot, to tell a daring story free of the Gotham city universe. The hype for the “dream heist” thriller was hysterically huge. I and countless others positively salivated at the sound of the concept. The possibilities of such an idea were endless. Sadly the film is one of the most overrated of recent times. Whilst good it did not compete with the whirring of imaginations kick-started into life by the premise.
Memento is much better than Inception when it comes to realising a tantalising idea. This is despite the fact that Nolan’s relative inexperience as a director is evident in a handful of lacklustre shots; one drab and overlong focus of Pearce strutting away into a building stands out. The acting isn’t always brilliant either, with what seems like half the cast of The Matrix on show and in hit and miss form. The script however is superb, bouncing themes and tension around the scattered narrative structure. I was never bored. And I never knew what was going on.
As well as being extremely gripping and exciting, Memento has its other strong points. Leonard as a character is an engrossing figure, complete with those striking memories in tattoo form (which Steven Moffat recently adapted in Doctor Who for the monsters you forget when you look away). He is trying to make sense of his life, in one sense with nothing to go on but also with endless notes and information he’s amassed for himself. We’re all trying to settle on a purpose and the excess of notes could be an interesting symbol for information overload in the modern age. Clearly Memento has its insights on memory given the driving force of the story but it also comments on the nature of fact and perhaps the notion of history. Leonard insists he only collects facts and this ensures no one takes advantage of him. But his “facts” are manipulated. And what’s the point in revenge if he can’t remember it? Is it enough that “the world still exists when I close my eyes”, as he says?
Memento gave me a headache. I may have had one before sitting down to watch but after having the pieces inside my head jumbled about until my brain moaned in pain, it didn’t help matters. Nonetheless I enjoyed it. The overwhelming strength of the film is its originality. The execution was certainly there, which is why this was Nolan’s breakthrough picture. But the real genius lies with the idea behind the story. And the script was based on a short story by Christopher’s brother Jonathan Nolan. Perhaps he is the real mastermind behind the family’s success and the endless plaudits should be more evenly shared.
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Imagine a world in which Tesco invaded Denmark. That’s right the supermarket, grabbing itself a piece of prime Scandinavian real estate. Imagine television listings brightened by the presence of celebrity game show, Rape An Ape, complete with catchy theme tune. Imagine a political landscape in which David Cameron was a forgotten has-been like the Conservative leaders that preceded him and Tony Blair roams the streets of Baghdad, bearded, greying and haunted by his contorted legacy. These mad and brilliant ideas are all generated by the brain of Armando Iannucci for his hilarious and unique BBC series Time Trumpet. Loving this as much as I did I had no hesitation in snapping up In The Loop from amongst the many varied seasonal offers at HMV.
Released in 2009, In The Loop is of course a feature length, larger scale version of The Thick of It, an enormously successful political satire first launched on BBC4 that has since acquired a cult following. The popularity of the show is not just down to witty and intelligent scripts, but perhaps largely due to the superb and vibrant character that is Malcolm Tucker, political spin doctor. Played magnificently by Peter Capaldi, Tucker is Number 10’s attack dog, unleashed to deal with media storms reflecting badly on government. He spits out line after line of venomous insults, dripping with graphic and vulgar imagery. He hovers around in a frenzy, fretting about the incompetence of others. His swearing is so loud and non-stop that in one scene a passing American accosts him; “Enough with the curse words pal”. Tucker simply replies with a volley of typical vitriol.
In London Tucker is the big cheese, charging about confidently, marching into ministerial offices like he owns the place and intimidating cabinet members. Tom Hollander is an impressive addition to the cast as a bumbling everyman figure, essentially well meaning but conscious of his infant career. He tries valiantly to talk sense to Tucker, only to be bulldozed aside and dominated like the rest. A few too many slightly opinionated responses to interview questions about the developing situation in the Middle East and a “will they/won’t they” war (no prizes for guessing the recent crisis used for inspiration), and Hollander’s International Development minister is dispatched to Washington to quell fears about his resignation and bribe him back on side. Hilariously and accurately he is repeatedly told to stick to the government line, without being told clearly what this is, in fact he is simply baffled by the repeated blasts of explanation from Tucker.
In The Loop is impressive because once things shift to Washington the writers do a wonderful job of creating believable and amusing Yank career vultures too. Across the pond their own inter-departmental war is raging, between those for and against conflict, and no one will overtly announce what they’re rushing around and bickering about. A funny speech from Hollander’s character back home, trying to be ambiguous about the UK’s stance with typical MP speak, has been adapted and taken on by the pro-war Americans, with the cliché phrase “climb the mountain of conflict” isolated.
Tucker tags along for the ride, keen to ensure his mistake prone minister doesn’t balls up again. Hollander is accompanied by his geeky and clumsy new aide, played by Chris Addison, who gives a warm and funny performance. He is surprisingly well connected and becomes crucial to the plot, whilst remaining inept. Drawing his Washington trip he beds an old American university colleague and when this is found out by his British Foreign Office girlfriend on his return, he comically and awkwardly attempts to claim he did it to try and stop the war. Things zip along with laughs in every scene, the stateside action broken up with a constituency visit and an irate Steve Coogan, until the climax of a vote at the UN for or against military action.
Prior to the vote Malcolm Tucker is slapped down by his American superiors. In Washington he is a castrated beast, a joke to the hot shot Yanks. Push aside his vulgarity and the obvious point of the film and the series, to get us to look at the ridiculous and distorted nature of modern political spin, truly engineered and evolved by Blair with Alastair Campbell, and Tucker is irresistibly likeable as a character. He is weirdly brilliant at what he does. And bewilderingly you root for him as he rises from the ashes, despite the immorality and twisted motivation. You don’t mind so much as Hollander’s eventual moral stand is crushed by his masterful scheming. You laugh along and rejoice in his charisma and sheer balls, as he and fellow Scott sidekick Paul Higgins, playing Senior Press Officer Jamie McDonald back in Britain, smash their way to their objectives. In The Loop is an intelligent and endlessly funny Christmas present, but however much Tucker’s insults have you splitting your sides, you wouldn’t want him around the family turkey dinner table.
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