Mary and Max
Over the past few years I’ve become more and more of a cinema obsessive, which is why you’re reading this blog now. But this year has made me realise how truly lucky I am; a loving wife, two low maintenance rabbits and a slightly petulant cat, all my own hair and three quarters of my own teeth, the rest sadly rotted away on a diet of cinema popcorn and fizzy drinks when I was younger. But for the last three years, I’ve really expanded my horizons and seen the films that looked interesting, even if they didn’t look like they’d be especially popular. It seems I’m pretty much on my own in doing that, or at least sometimes it feels like it.
If you live in a tiny town in the middle of nowhere, then you have my sympathy. But if you don’t, then you really should have been getting out this year to see more films like this. I see my job as to helping to encourage the masses on a similar journey to widen their horizons – thankfully, being able to write stuff like this on the internet saves me physically having to drag people off the street. (Although don’t think for one minute I haven’t given it serious consideration.) Next year, no excuses, and if you’re looking for a New Year’s resolution, then I suggest going to see at least one film that looks like your kind of thing but that you wouldn’t normally make the effort for. To help you in your decision making process, here’s 10 you should have seen this year.
You have to feel sorry for Andy Garcia. He hawked himself round what passes for chat shows on British TV these days, from everything from Top Gear to Loose Women, and for what? His best performance in nearly 20 years, an excellent Italian-American modern day farce with a wonderful cast, and the showing I was at – on a Saturday night, in a major multiplex – had four other people in, all of whom left after 20 minutes. Whoever you are, you missed a treat.
I saw my first surprise film this year, at the Cambridge Film Festival, and listening to the buzz from the audience beforehand, you would have thought it would be anything from Despicable Me to The Social Network. It turned out to be a rather grown-up animation about jazz in the Forties and lost love, but it would seem that springing this on people as a surprise is not only the best way to get people to see this, it might well be the only way.
In a year when readers of Empire voted Die Hard as their favourite Christmas movie, it’s clear that modern audiences like something a bit different in their Christmas stockings. I can only hope that more of you got to see this than at the screening I attended, which was sparse to say the least – this is a real Christmas treat, but one for those who still embrace a little of the cynical Ebeneezer in themselves. When Christmas is as commercial as it has become, then a little Finnish horror satire goes down a treat.
Here’s a movie that fought like a tiny David against the Goliath of cinematic distribution, creeping into art houses for occasional screenings whenever it could and spreading as much as possible by word of mouth. When one of those mouths belonged to one of the supporting cast, the excellent Jason Isaacs (and hello to Jason Isaacs, by the way), you would have thought people would be keen to track down a genuinely satisfying slice of Britishness. Well done to the special few who did.
So many American comedies these days end up being just “meh” rather than “ha-ha-ha”, so when one comes along that is consistently laugh out loud funny, it’s just unfortunate that the fact it’s a blaxploitation spoof seems to mean it struggles to get an audience. It’s a key example of where keeping an open mind (mainly about the fact that you only need the most passing of familiarity with the source material to get pretty much all of the jokes) can open you up to new and worthwhile cinematic experiences.
This is a prime example of keeping your eyes peeled for special events coming up at your nearest flicks, because there are often some hidden gems. Mark Cousins toured his wonderful documentary of his visit to an Iraqi village and his introduction to the power of cinema for the local children. Over twenty cities around the country were lucky enough to get not only the film, but to quiz Mark after the screening, and to understand the true passion that cinema can drive. If he can go to Iraq to do it, then surely a trip to your local cinema isn’t too much to ask.
There was much consternation when this beat out both A Prophet and The White Ribbon to the Foreign Language Oscar last year, mainly from people who freely admitted they hadn’t seen it, but it’s easily fit to sit in the same company as those other two (even if, admittedly, I would have given the Oscar to Haneke. But I digress). It’s a murder mystery and a love story that span twenty five years, and has probably the most audacious single shot of any film in the past few years. I can only assume that most people had decided that A Prophet and The White Ribbon must be better, and decided not to bother. Shame on you, frankly.
Now here’s a prime example of a movie that’s a hard sell. It’s Greek, kind of a drama but kind of a comedy, it creates a world and then makes its own rules and then exploits the possibilities of those rules to the fullest extent. It’s completely bonkers, vaguely incestuous and an incredibly uplifting but also savagely violent ending, like a sadomasochistic Shawshank Redemption. I can tell you’re tempted just by reading that, aren’t you? Well, some things defy marketing (just look at the poster if you don’t believe me) but everyone I’ve spoken to or read who’s seen this thoroughly enjoyed it. So how do you get people to watch it?
This is where I get so utterly frustrated at the distribution model we have in this country, and how hard it is for quality product to get an audience. This is a movie that graced barely a dozen cinemas in this country – it got to my local, but for one showing only. That showing was sold out, and was packed full of people, like me, blubbing their eyes out at the end of this incredible Plasticine animation, which tackles the difficult subject of mental illness head on and combines humour and sadness to impeccable effect. At the time of writing, it’s sitting at number 218 in the IMDb Top 250. Of all time. So why is it such a struggle to get people to watch?
But you know, it’s not too late. You might still be seeing the poster for this in your local cinema. The poster with quotes including “beautifully told story of bravery” and “an outstanding ensemble cast” on it. The poster with the fact that it won the Grand Prix at Cannes this year slap bang in the middle of it. That poster is still in 31 cinemas around the country as we speak. If it’s in one near you, then don’t miss out. (It’s got the French bloke off of The Matrix and the bad guy from Moonraker in it, if that helps. No?)
If you’ve read this, then thank you. Now help to restore my faith in humanity – please comment if you’ve seen at least one of these movies this year in a cinema. If not, then you know what your resolution needs to be.