The Agent

The Agent

Dir. Leslie Manning/ Written by Martin Wagner 

Ever wonder who decides what books you read? No, it’s not Richard and Judy, not even Oprah. The answer, as delivered by this spiky and clever little film, happens to invariably be the literary agent (played with gutsy vigour here by William Beck). Alexander the agent is cunning, ruthless and oblivious to taste or criticism and is out to make lots and lots of money. Which he does very well.  And like all the best con-men, we find that he is strangely likeable and charismatic in spite of ourselves …

Plunging us head first into the wheelings and dealings of the publishing world, Martin Wagner’s bitingly funny screenplay follows disgruntled author Stephen (a world-weary Stephen Kennedy) in his attempts to get his agent to justify his fee and his occupation.  Fearing that his agent is not doing enough to push his second novel, Stephen takes matters into his own hands…

The Agent started out as a play and it shows in the production. There are only a few characters (Maureen Lipman turns up in one very funny scene) and most of the film is a two-way conversation between Stephen and Alexander taking place in a non-descript office. But what the film lacks in action or variety of tone it more than makes up for in the quality of the writing and acting. The two leads are superb and absolutely convincing in their given roles. Kennedy’s edgy desperation drives the film and evokes tremendous sympathy as the man who has been knocked by life one too many times. Beck is equally good and displays great levels of wit and charm. The characters are so believable that at points the film almost feels like a documentary.

The real star on show however is the terrific writing. I doubt a more truthful film exists in relation to the literary world and if it does it could scarcely be more energetic, funny or stylish. A real gem, packed with wonderful lines and two incredible, performances. This is a challenging and thought provoking film that treats its audience with a maturity and respect, which is unfortunately all too rare in British cinema. Seek it out.

The Agent is out September 18th and is showing at the BFI Southbank. 

 

Mad, Sad and Bad? Nah, Just bad...

Mad, Sad & Bad - UK, 98 mins, English. Dir. Avie Luthra.

Meera Syal, Nitin Ganatra, Zubin Varla, Andrea Riseborough

Avie Luthra’s comedy drama about a British-Asian family attempts to uncover universal truths and generous laughs from the minefield of modern relationships and city living. Unfortunately, despite a good cast - including familiar faces such as Meera Syal and Eastenders’ Nitin Ganatra – the script is frail, largely laugh free, and the plot, such as it is, never gets going. The whole feel of the production is that of a TV movie, or perhaps a pilot for an uncomissioned sit-com.

A large part of the problem can be ascertained from Luthra’s notes when he states that he intended to reflect a “kind of metropolitan thirty-something selfishness…people in their mid/late thirties in mixed relationships who were so self obsessed they’re not able to look beyond their own needs.” Now, if ever there was an unnecessary and uninspiring pitch it would have to be that one. Perhaps that sounds harsh and unfair. However, it was particularly disappointing that the most potentially interesting aspect of all of this – the mixed-race relationships, possible cultural divides etc – was not examined or used in anything approaching dramatic (or comedic) fashion at all. Indeed, the fact that there are mixed-relationships in the film is unimportant and largely irrelevant. All of the characters could have been Brit-white or all could have been Brit-Asian and the script could have remained unaltered. Which is presumerably the point? But in that case why mention or show it at all?

As it is, Mad, Sad & Bad joins the already tragically large list of failed British comedic offerings. The three main storylines; Syal’s dowdy Rashmi’s quest for a decent date in order to get her secretly boozing Mum (Leena Dhingra) off  her back, Ganatra’s Atul’s  troubled relationships and writer’s block and eldest brother Hardeep’s (Zubin Varla) sex obsession and lonely home life all remain unconvincing and barely raise a smile between them.  Often the balance between comedy and drama seems well off kilter – particularly Hardeep’s attempted seduction of his brother’s girlfriend (Riseborough), which just comes across as inappropriate and seedy.

The strongest character is probably that of the matriarch Usha, whose post-death narration opens and closes the film and should be the spark that leads the characters out of their naval gazing.  She at least provides some sense of realism, as her loneliness and desire for a better life for her kids begins to tire her out.

As for the other characters, they seem forced and underdeveloped. Syal and Ganatra are both good comedy performers, but they are working with frankly sub-standard material here. A running gag about Atul struggling to write an opera about cheese is painfully unfunny and is unfortunately the abiding memory that sticks after the credits roll. Mad, Sad & Bad? No, sadly, just bad.

Mad, Sad & Bad is out now.

 

Looking For Eric - Back of the net!

Looking For Eric  (15)

Dir. Ken Loach, 2009, UK, 116 mins

Cast. Eric Cantona, Steve Evets, John Henshaw, Stephanie Bishop

Films about the beautiful game have had a troubled history. From the undoubtedly bizarre thrill of watching Sylvester Stallone lining up alongside Bobby Moore and Pele in The Great Escape to lacklustre debacles such as Fever Pitch or When Saturday Comes, cinema has struggled to capture the sport’s emotional intensity, passion and endless possibilities. More recently the depressing sub-genre of hooligan film (Green Street, The Football Factory) has overshadowed the game itself on the screen.

Thankfully, with Ken Loach’s (himself a follower of non-league titans Bath City) masterful feel good character study Looking for Eric, footy fans finally have a film to be proud of.  And this is by no means at the exclusion of audiences more at home in the cinema than on the terrace. Football references are kept to a broad minimum and should not put off anyone unfamiliar with flat back fours, the offside rule, or relegation dogfights.

Steve Evets’ (think, Mancunian Harry Dean Stanton) terminally depressed and damaged postman Eric Bishop is in the middle of a nuclear strength mid life fall-out. We first meet him as he drives his van the wrong way round a busy roundabout oblivious to the oncoming traffic. As a compelling visual metaphor for his sad existence it grabs us from the off and doesn’t let go.

He left his first wife (Stephanie Bishop) 30 years ago in the grip of doubts and fears about becoming a father and remains painfully in love. The stepsons (Gerard Kearns, Stefan Gumbs) from his second marriage treat him with contempt and rule the roost at home.  On top of this he can’t afford to go and see his beloved Manchester United anymore. To be blunt, life for Eric sucks.

And where is the wayward genius Cantona in all this misery? Well, at the height of his despair Eric turns to his bedroom poster of the legend and asks him where it all went wrong.  To his understandable surprise the former Old Trafford hero appears, languidly stepping forth in a puff of spliff smoke (‘borrowed’ from the troublesome step-kids) and beguiling bon mots.

And from that point on King Eric acts as advisor, fairy godmother and personal trainer, constantly popping up offering sage advice and typically oblique poetics; cleverly sending up his public persona (I am not a man…I am Cantona, he announces, tongue firmly in cheek) and showing a nice gift for subtle comedy.  Eric’s desire to explain and understand his failings and goal of reuniting with the love of his life is carefully plotted by his charismatic namesake and together they make a genuinely winning double act.

Great support is provided by Eric’s workmates (particularly John Henshaw’s splendidly named Meatballs); the scene in the postal depot where they try to raise a smile from Eric by telling him god-awful jokes is a peculiarly British comedy gem.  Loach’s (at 73, surely worthy of ‘national treasure’ status) love of gallows humour is always near the forefront but it is without doubt his lightest film in tone; the ending is brilliantly upbeat and will leave a quiet grin on the face for many weeks afterwards. Some aspects of the crime sub plot in the second half of the film don’t always work but these are minor quibbles and as a plot device it necessitates the superb climax. A genuinely entertaining, funny and emotive British movie that fully deserves the many accolades that are sure to come its way. A film to be proud of… back of the net!

Looking For Eric is released on June 12

 

Anything For Her - released 5 June

A superlative French thriller that draws favourable comparison to Guilliaume Canet’s 2007 crossover success Tell No One, in Anything for Her (Pour Elle) Fred Cavaye explores similar themes of obsession and love while progressing with a tightly scripted plot at breakneck speed.

Lisa (Diane Kruger) and Julien (Vincent Lindon) lead a happily married life with their young son. This state of bliss is turned upside down when armed cops knock down their door and arrest Lisa for murder. Julien cannot bear to be without her and sets out to break her free - even if it means that he has to kill in order to do it.

The film’s strength largely lies in Lindon’s performance. He is solid, charismatic and believable as the average Joe schoolteacher pushed to his extremes by love and the possibility of that love being lost.  There is never the sense that events are implausible; out of control and mad, yes,  but always believable. The film constantly asks: what would you do in the same position?

 

Tormented. out May 22. take it away. please ! please!

Oh dear. Essentially Hollyoaks with blood or an episode of Skins meets Scream, Brit- high school horror Tormented has its target audience firmly in view. Sadly this does not seem to include anyone a; over the age of 15 or b; seen more than a handful of decent movies (horror or otherwise). Even the basest teen soap has more wit and vigour than this frankly embarrassing offering.

The plot, such as it is, concerns the suicide of bullied teen Darren Mullet and his apparent re-appearance as a vengeful zombie ghost thing eager to get back at the cast of gormless, braying good looking bastards who did for him in the first place.

Displaying varying degrees of idiocy, the clichéd bunch of Emos, slappers, geeks and jocks get bumped off in disappointingly boring fashion. The final ‘twist’ is laughable and seeks to act as some sort of get out clause for the mirthless crap that preceded it.

Avoid like the plague. It’ll probably be huge.

Note: Incredibly Empire magazine which I enjoy and respect gave this pile an extremely generous and good review. Why ??! Seriously, any horror  fan (or sentient being) will be switched off by this. The fact that it's rated a 15 should tell you that it's not in the so shit or rank that it's good category...whatever....