They create worlds: Grand Theft Auto

One of the things that video games can do magnificently is create worlds. These posts are an occasional exploration of games that I love because of where they take me.

Rockstar Games’ Grand Theft Auto series has received a lot of flak, from all sides of the political and ideological spectrum. They aspire to being The Great American Satire, and sometimes they achieve moments of wit and insight, but while they’re great games, all too often as cultural critique they resort to lazy, crass caricature that says little more than, “America, huh?”

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Better Holmes and Gardens

The British have perfected a certain kind of movie. They are tasteful, well-wrought, polite, but utterly unexciting. At best they are charming due to their cast – The King’s Speech comes to mind, which mainly works because of Colin Firth and Geoffrey Rush – but at worst they’re lukewarm and somewhat boring, expecting nothing from their audiences and going out of their way not to challenge them.

Mr HolmesMr Holmes is a prime example of such a film. It’s nicely shot, the script is well crafted and inoffensive, it all smacks of a certain middle-of-the-road blandness. Unless you’re into bucolic idylls, there is little about the movie that is memorable – with one major caveat: the central performance by Ian McKellen is a thing of beauty. Continue reading

Why did the chicken go down into the basement?

Men & Chicken is a bit of a letdown. It has good things in it, but on the whole, it’s not as good as Adam’s Apples, the 2005 film by the same Danish director Anders Thomas Jensen. I had high hopes for this one: it is the fourth collaboration between Jensen and Mads Mikkelsen. Jensen also has written the brilliant After the Wedding, Wilbur Wants to Kill Himself (both movies also starring Mikkelsen, but not directed by Jensen), and Red Road.  Continue reading

Making love out of thin air

Love Island wants to entertain in the best way it knows how. It’s at times clumsy and hackneyed, with a very short attention span, but it is sweet, goofy and sensuous, and it is hard to dislike it. Reader, I was entertained. It consists of standard scenes making up a flimsy summer comedy about a love triangle in a holiday resort under the Croatian sun called… well, Love Island. It’s a movie like filo pastry: you like it, sometimes you crave it, but it’s not anybody’s favorite food. There’s Liliane (Ariane Labed), beautiful and pregnant, and her husband Grebo (Ermin Bravo), a lovable dork. Liliane and Grebo seem to look forward to being parents. But there is Flora (Ada Condeescu), who works at the resort as a diving instructor and animator, and she and Liliane were a couple once. Continue reading

Strong Woman vs. Gruff Man

For more than an hour, The Homesman is one of the best-told films I can remember. It is directed by, and starring, Tommy Lee Jones, based on a screenplay co-written by him. The secret prime mover, however, is a woman named Mary Bee Cuddy, played to perfection by Hilary Swank. Miss Cuddy, unmarried, devout and outspoken, lives on her own farm on the Nebraska Territory. The year is 1837, and this is the frontier. If you go West, you will find disease, hunger, isolation and hostile Indians. There is nothing but flat grassland as far as the eye can see. No villages, just huddled groups of little colorful houses crouching under an overwhelming sky.

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Best Before

Das Ewige Leben (German for eternal life), the latest instalment in the Simon Brenner movies from Austria, starts with the usual slight comedic misunderstanding. Brenner, forever unshaved and in his shabby green jacket, wants to get social security, but has no job, no fixed address, no money, and no ID on him. “You’re homeless,” the woman behind the counter tells him. Maybe that has not occurred to Brenner.

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Mad to the Max

I am either the ideal or the wrong person to review Mad Max: Fury Road. I like my movies simple but suspenseful, on the realistic side, with weight and witty dialogue, with rounded, believable characters. Mad Max doesn’t have any of this. Instead, it’s a loud, shrill, monomaniacal high-speed romp through a barren, deadly post-apocalyptic landscape. Reader, I loved it. Movies like this elicit one of two likely responses: you either want to get off that hellride, or you cry for more. I cried for more. What doesn’t truck with me is complaining about the action and violence; that would be like jumping into a pool and complaining about the wetness. You’ve been warned.

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Kurt Cobain will have his revenge on all of us

It’s the darnedest thing with Kurt Cobain: Montage of Heck. I can see that it’s a good documentary, but I have no idea what it wants to do or where it wants to go. It latches on to the biographical details as a red thread, and everything in it – the music, the drawings, the puppets and statues – is by, or at least featuring, Kurt Cobain. A bio-pic would feature a lot more interviews. Ok, so maybe it’s all about Kurt Cobain as an artist. Hardcore Nirvana fans will appreciate that, but all others must be warned: Cobain’s artwork is as uncompromising as his music. Since the movie is 130 minutes long, that means a lot of monsters. I grew slightly tired of exploding entrails and erected penises.

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Love and war – same thing

Les combattants is essentially a love story, but the movie is at its best when it forgets that. There’s Arnaud, a carpenter who helps his older brother build pergolas in other people’s gardens. He looks on as the daughter of their latest customers fills a backpack with roof tiles and jumps into the family pool. He fears she might drown. “It’s combative swimming,” she replies, as if she did that every day. She does. Later, he will give her a ferret as a pet.

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She also puts a whole fish in a blender and drinks it all. “I have to prepare for the end,” she says, although she doesn’t know exactly what that end might look like. Madeleine is not a gun-toting tomboy, nor a pessimist, but a young woman who thinks it’s her best choice to enrol in the French territorial army. She can be outgoing, but chooses to stay silent because she is not too good with people. She seems constantly on the brink of exhaustion, what with all that survival training. When Arnaud sees her, he is not love-struck at first, but curious enough about her to enrol alongside her. Madeleine has not much of a clue that he might like her. She takes his tagging along with a shrug.

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Almost none of the scenes play out the way you think. There is a very tender moment where they paint each other’s face with camouflage colors. Another scene shows raindrops on her naked skin. Arnaud is fascinated, but all Madeleine wants is for him to punch her. Madeleine realises that the military is actually not hard-core enough for her, so she and Arnaud desert into the woods. There is a surreal scene at a gas station where they seem to grow apart, but actually find something out about each other. Arnaud doesn’t have much interest in joining the army, Madeleine wants it far too much.

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The film avoids almost all of the clichés of boy meets girl or of the army. By the end of the movie, the two of them have grown closer together – in what way is for you to decide. Les combattants shows you fresh faces and an unusual story, told in an unusual way. Arnaud is played by Kévin Azaïs, slightly dorky and clueless about who he wants to be; Madeleine is played by Adèle Haenel, and I have a hunch that she might go on making good to great movies.

No strings on her

Can a machine ever be truly intelligent? Can it have feelings? If a machine fakes these things convincingly enough, at what point does the appearance become the real thing? Whatever the answer, Hollywood tends to remind us that it’s a bad idea to fall for robots and AIs, however seductive they look and however much they sound like Scarlett Johansson. Ex Machina is not alone in dramatising the Turing Test, but Alex Garland’s first film as a director is definitely a striking addition to the genre.

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