The 2011 Sydney Film Festival had plenty on offer that didn’t fit in within the constraints of our “Sounds of Screen” series. But, as part of our continued effort to bring you the most comprehensive coverage of every major event in Australia, I bring you a look at 5 other films I managed to catch during the festival.
First up is Cedar Rapids, a lighthearted American comedy starring Ed Helms of The Hangover and The Office (USA) fame, alongside a stellar cast including John C. Reilly, Anne Heche, Isiah Whitlock Jr., Stephen “Have You Seen My Stapler?” Root, Rob Corddry, Alia Shawkat (Arrested Development), Sigourney Weaver and many more.
The narrative revolves around the highly reserved Tim Lippe (Helms), who’s sent to Cedar Rapids, Iowa to represent his company at an annual insurance convention. Here he meets the obnoxious Dean (Reilly), lovable-though-foul-mouthed Joan (Heche) and wise Ronald (Whitlock Jr.). Together, these three convention veterans help bring Lippe out of his shell and take us on a pretty hilarious journey in the process.
Though restrained for the entirety of the film, Isiah Whitlock Jr. manages to steal the entire picture through a single scene towards the end of the film. It’s at this point where you realise how quietly ingenious the script has been all along. It follows a familiar “self-discovery” narrative, but you are provided with enough genuine surprises along the way, alongside continuously well set up laughs, for the film to rise above its contemporaries. It seems I’m not alone in this statement: this particular Sydney Film Festival screening had the best reaction of any comedy film I saw throughout the festival.
I won’t spoil anything more about the film, however word is that the film won’t be receiving a theatrical release in Australia, which is a pity; though never offering anything truly original, its classy script, enjoyable characters and hilarious narrative see the film destined to be a cult classic both in Australia and around the world. It probably will never attain the status of Anchorman (though it’s the superior film), but if you enjoy those sorts of films, definitely get your hands on this entertaining gem.
Review Score: 7.5/10
What began as a parody trailer that premiered during Tarantino’s Grindhouse double act, Hobo With A Shotgun follows Machete in being given the full feature treatment. A loving ode to the Grindhouse period of times past, Hobo… is a highly enjoyable escapade in which the title tells you just about everything. There’s a hobo. He has a shotgun. He requires justice… for… some… reason. A girl? Yes. Let’s go for that.
The film, much like the 70’s Grindhouse films which it pays ode to, is incredibly camp, with our unlikely hero hobo Rutger Hauer (YES!!) taking a rather deadpan approach to juxtapose the sensationalist and over-the-top baddies. Funny, entertaining, over-the-top violence, cheesy music and ridiculous plot lines are what made the Grindhouse films so great… and here, director Jason Eisener has made a film which skillfully ticks all the same boxes.
Review Score: 7/10
One film that is definitely receiving a theatrical release later this year is the next film we’ll be looking at: Win Win starring “I will literally see this guy in anything” Paul Giamatti, alongside a comparable supporting cast (including an underused Jeffery Tambor from Arrested Development).
As I read little about the film before I headed into the screening (see my earlier statement about Giamatti), I have to say I was surprised when it turned out to be a film whose plot revolved around adolescent competitive wrestling.
Well, sort of… let me be more specific: The film revolves around struggling lawyer slash volunteer wrestling coach Mike Flaherty (Giamatti), who discovers a loophole where he can earn money off one of his clients by becoming his caretaker. Things don’t go exactly to plan, however, when the elderly man’s grandson Kyle comes to town. What happens from here is a beautiful exploration of human character, the nature of generosity (how self-serving are we?) and even the concept of fate, as Kyle seems a perfect fit for the school, town and their family.
This is a well fleshed out film, directed with the sort of subtlety we know well from director Thomas McCarthy (The Station Agent). His characters are far from one dimensional, and are allowed to grow and change throughout the film, as we come to appreciate their circumstances and are taken along for the journey. Newcomer Alex Shaffer gives a particularly impressive performance as Kyle, whose deadpan take on teenagedom fits the role perfectly – though once again shows the sort of subtlety that McCarthy works with to develop his characters.
Sometimes this approach works against the film, with its scenarios falling together a little too predictably and easily, keeping it from being something truly brilliant. But with a fresh narrative and well considered acting from all its players, Win Win has set itself up, though quietly, as one of the must see films of the year.
Review Score: 7.5/10
Next we have Elite Squad 2: The Enemy Within (Tropa de Elite 2 – O Inimigo Agora É Outro), a Brazilian film directed by José Padilha which is apparently the highest grossing Brazilian film of all time.
The film ticked all the boxes of the Contemporary Western Film: Predictable action, a broken family, an attempt to be political and the twist that you see coming a mile away. There’s nothing bad about the film persay, it’s just that seeing a film do the same things the Americans do, but in another language, doesn’t suddenly a brilliant film make. Though I suppose it does make it slightly more intriguing to watch.
I did enjoy the experience to a point, but there’s only so much predictable dialogue and narrative that I can take in any language.
Review Score: 4.5/10
Finally we have the Adelaide produced Shut Up Little Man!: An Audio Misadventure which looks at the accidental pop culture phenomenon created when two friends in San Francisco tape record the fights of their violently noisy neighbors, Pete and Ray: one, an openly gay man, and the other violently homophobic.
The film looks deep into the nature of the phenomenon – how the tapes were made and how the content spread so rapidly in a time devoid of the internet. Certainly no easy feat (but seriously, cassettes were, and still are, awesome). As Eddie and Mitch, the makers of the tapes, point out, had YouTube been around back then, it may have been even more popular than it was, and had spread a lot quicker.
In addition to the making of the tapes, we look at the making of the films, comic books, stage shows and more that evolved out of what it a rather odd phenomenon. The filmmakers speak with the people behind the various projects, who don’t always show Eddie and Mitch off in the kindest light.
It’s an intriguing film – something I knew nothing about, and I found it a hilarious experience learning about it all. The problem with the film, however, is its attempt to be vast. By the time the film hits the 60 minute mark, director Matthew Bate starts going around in circles, repeating the same points, even seeming to use some of the same footage. By the time they reach their ‘climax’, a confrontation with one of the men who used to live in the house, the momentum the first half of the film which had built up beautifully has died off, and you’re left feeling like you never received the payoff that you actually did.
Cut this down appropriately and you won’t have a theatrical release, but you’ll have yourself a 4 star documentary. But for now, we’ll have to settle on three. Truly interesting subject matter for anyone who enjoys a good documentary. A brilliant example of a simple idea that is, for the most part, executed quite well… it just mightn’t have been ‘feature length’ worthy.
Review Score: 6/10
One of the highlights of the festival was a free event at Sydney Town Hall, where famed Australian critics Margaret and David discussed the “Films Which Divided Us”. The films they chose? Showgirls, which David liked and Margaret didn’t (along with the majority of the world), Romper Stomper which Margaret loved and David famously didn’t even bother to score, Dancer in the Dark which Margaret liked and David (well known to dislike Von Trier films) detested, Death Proof which David enjoyed and Margaret found a bore and finally The Notebook, which Margaret adored and David thought deserved to go in the soapies section of the bargain pile (my words, not his). A classic guy versus girl critical argument there… which is why they’ve always been such a great pair, I suppose!
It was an entertaining and fascinating insight into two people terribly passionate about film. As a major fan myself, it’s always enlightening to see people discussing film with such vigour. This event being the perfect example of just that!
