Director: Gilles Bourdos // Distributor: Soda Pictures // Release Date: June 28th // Starring: Michel Bouquet, Christa Theret, and Vincent Rottiers.
Review: The sumptuous Côte d’Azur setting of Renoir may suggest a languorous tone, but Gilles Bourdos’ story of a precocious teenager reigniting the passions of both of an aging artist and his convalescent son boasts a satisfying sense of momentum.
Director: Harmony Korine // Starring: Vanessa Hudgens, Selena Gomez, Ashley Benson, Rachel Korine, James Franco.
Review: The motive behind one’s participation in a film like Spring Breakers is admirably clear. Those who brave Harmony Korine’s neon-soaked oddity are invited to watch in awe as Selena Gomez and Vanessa Hudgens dismantle their squeaky-clean public personas, a tried-and-tested career move that heralds a rebirth-of-sorts for the Disney starlets, reinforcing their relevancy and signalling a more mature approach to their image and output. It is no coincidence that Hudgens’ raucous new single “$$$ex” dropped in the wake of the film’s US premiere, or that Korine has cited the rise and fall of pop icon Britney Spears as a major influence on the films emotional trajectory in several promotional interviews. It is these assured correlations between the ambitions of both cast and director that elevates Spring Breakers from the depths of depraved exploitation that so many critics have been so eager to bury it in. For better or for worse, this is a film that wears it opportunism on its sleeve.
Director: Dustin Hoffman // Starring: Maggie Smith, Tom Courtenay, Billy Connelly, Pauline Collins // Plot: Ageing opera singer Reginald Paget (Courtenay) finds the splendour of Beecham House, a home for retired musicians, to be compromised when his prickly ex-wife Jean (Smith) comes to stay. As the houses financial future becomes unclear, Jean does all she can to avoid reuniting with her former quartet members Sissy (Collins), Wilf (Connelly) and, of course, her ex-husband Reggie.
Review: Dustin Hoffman’s directorial debut is a sporadically touching adaptation of Ronald Harwood’s 1998 play of the same name. Despite being very much geared towards to a particular demographic, this viewer can attest that he, at the tender age of 21, found much to enjoy in Quartet, although a frustrating lack of focus makes it hard to recommend to audiences at large.
My attempts to review the musical identities of years gone by have had an annoying habit of collapsing in on themselves. I like to attribute this to the fact that my choice of poison is music of a popular nature. Yes, you read that correctly – I, Robert Gould, am a loud, proud pop music fan. In fact, my only real problem with pop music is how broad the term is. In one way I feel blessed to have so many classic records to work my way through, but I’m still in the early stages of it all. As a result I’ve ended up spending so much time digesting the complete works of, say, Madonna that the a lot of the output of 2012 has gone straight over my head. Now I know some sassy people out there will say this a good thing, but when I started to work my through all the Best of 2012 lists by Popjustice, NME et al I thought that maybe it wasn’t such a bad year after all. I can only hope one of my loyal spambots has a similar epiphany upon reading through my own compilation of the dizzying musical heights reached over the last 12 months…