16 April 2012

Review: WICKER TREE

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★★★★★

A magnificent fusion of chilling horror, satirical humour, music and eroticism. The Wicker Tree is a cult masterpiece.

Robin Hardy's long awaited directorial return, The Wicker Tree, is finally on its way after an incredibly turbulent production process. This "spiritual sequel" to Hardy's 1973 masterpiece, The Wicker Man, explores similar themes to its predecessor but is not directly connected to it. It is simply a return to the genre created in The Wicker Man, an eccentric fusion of humour, eroticism, horror and music and is unlikely to be similar to anything you have seen in recent years. After numerous financial meltdowns, false starts and casting changes, this eagerly anticipated project finally got off the ground in 2008 and I am pleased to say it was worth the wait.

The Wicker Tree follows two young evangelist Americans - Beth (Brittania Nicol) and Steve (Henry Garrett), who set off to preach the word of God to the heathens of Scotland (Hardy's tongue remains firmly planted in his cheek). Beth, a successful pop star turned gospel singer, and her Texan cowboy boyfriend, Steve and greeted by powerful Scottish couple, Sir Lachlan (Graham McTavish) and Delia Morrison (Jacqueline Leonard) upon their arrival. The evangelical pair are persuaded to come and preach in the Morrison's home town of Tressock, where they are invited to take leading roles in the annual May Day celebrations - unbeknownst to Steve and Beth, these have sinister consequences.

Before viewing The Wicker Tree, you should be warned that this by no means the straight-forward horror that the trailer implicates. Hardy's emphasis here is clearly set upon comedy and the satire of religious evangelism. Beth and Steve are two characters who know nothing of the word they preach and when faced with answering some of life's most challenging moral dilemmas, they simply state "Well, if its in the Bible then it's what we believe." These characters shape their lives on this concept, placing their hope in a God that they believe will forgive their past mistakes, and it is this theme of misplaced hope that makes The Wicker Tree such an interesting watch. The pair's beliefs are further rocked when they are presented with several temptations in the Pagan playground of Tressock, Steve lured away by lascivious temptress, Lolly (Honeysuckle Weeks) and Beth haunted by her racy pop star past, in the form of a frequently played track called, Trailer Trash Love.

One of the main pleasures of The Wicker Tree is the sense of foreboding throughout, we know the outcome of the film, but it is the ride which Hardy takes us on which makes this feel fresh and exciting. We are treated to a wonderful cameo from Sir Christopher Lee which sums up the main question at the heart of the film - an unidentified older man (potentially The Wicker Man's Lord Summerisle) states to a young boy: "Can fate be altered? This is a question that every religion has tried to answer. And the answer is almost certainly ‘no’." The residents of Tressock have turned to the Goddess, Sulis for hope, where Beth and Steve have placed their faith with the Christian God. This theme of Paganism vs. Christianity strikes a chord with The Wicker Man and once again channels the idea of misplaced hope.

Whilst Hardy does turn everything up to its hammiest, from the thick Texan accents to the pagan weirdness, it still does have several chilling moments. Whether the impending, brutal traditions of the Riding of the Laddie and the crowning of the May Queen, match the sheer terror of the burning Wicker Man, is up for debate but they certainly give it a run for its money.

As to be expected, The Wicker Tree's soundtrack also impresses, featuring a beautiful combination of American gospel and Scottish folk, as well as some trashy country pop. Although it is unfortunate that there is not a Maypole or Tinker of Rye ballad in sight.

Brittania Nicol excels as Beth, showing off a genuinely beautiful voice and a clear acting talent. Beth is deeply flawed but Nicol plays her as such a sweet soul that one cannot help but get attached to the character, despite this. When Beth begins to suspect that she is in danger and confronts the villagers, Nicol is simply magnificent. The role of Steve is also particularly well cast, with Henry Garrett bringing a sense of likeability and humour to the role, as well as a convincing Texan drawl. The pair get the opportunity to show a vast range through the fish out of water elements of Hardy's script, from a lighter comedic side to equally convincing dramatic aspects.

Perhaps the most challenging part to fill is that of Sir Lachlan, a role originally written for Sir Christopher Lee (which he was unable to play, due to back injuries on the set of The Resident) but Graham McTavish manages to make the part his own, bringing a sense of gravitas, intelligence and charisma. Despite several big name actresses in the running for the role of Sir Lachlan's wife (including Faye Dunaway, Vanessa Redgrave & Joan Collins), Delia was eventually played by British soap star, Jacqueline Leonard. Leonard is impressive, channelling Dynasty's Alexis Colby in this sly and manipulative turn. Foyle's War star, Honeysuckle Weeks steps into the role of Lolly (possibly The Wicker Tree's Willow), a character torn between her pagan beliefs and the man she loves. Weeks also picks up a rather strong Scottish accent, which provides some laughs in several of the more erotically charged scenes that she features in. There is also Clive Russell in the wonderfully entertaining role of Beame, the Morrison's butler.

Being a fan of Hardy's source novel, Cowboys For Christ, I did find that several interesting scenes and details had been left out. The Wicker Tree is by no means a long film, at only 92 minutes - it could have benefited by spending more time on the film's final showdown, but given budget constraints this may not have been possible.

The Wicker Tree is truly a one of a kind cinematic experience. Like its thematic predecessor, The Wicker Man, it fuses humour, eroticism, music and horror, with utmost success. The horror comes second to these other aspects, however, with The Wicker Tree's key focus being on its successful satire of religious ideology. Robin Hardy has presented us with a magnificent cinematic romp and one of the most entertaining pictures in recent years.

Reviewer: Andrew McArthur (@andymc35)
Rating: 18
Stars: Graham McTavish, Jacqueline Leonard, Brittania Nicol & Henry Garrett
Director: Robin Hardy
DVD/BR Release: April 30th 2012


Originally posted on http://www.silverscreenslags.com/2012/04/review-wicker-tree.html

Feature: Curzon On Demand

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30 March 2012

Review: Tiny Furniture

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★★★☆☆

Mumblecore may have grown up and moved out, but its vestiges of post-collegiate hang-ups and foibles still remain in Tiny Furniture, the low-budget sophomore effort from 24 year-old New York writer/director/actress Lena Dunham, new out this week.

A paper-thinly veiled autobiography of sorts of Dunham’s own recent life starring Dunham herself, the film follows the first few post-graduate weeks of 22 year-old liberal arts major Aura, an endearingly frumpy aspiring creative, who, jobless and relationship-less, returns to the comforts of the family nest—a modernist-boheme, interior design dream loft in Tribeca. Whilst welcomed back nonchalantly by her sister Nadine, played by her real life sister Grace Dunham, and mother Siri, played by her real life mother and art world photographer Laurie Simmons, Aura’s presence soon becomes a bit of an anchor for all those involved.

Stuck in the water, Aura soon gains impetus after discovering her mother’s journal from when she was Aura’s age, and finds out that she then had a bevy of relationship issues, sex with different men, esoteric interests; in essence, a life. What kind of life Aura wants to carve out for herself during this formative period becomes the central question, and when standing in the shadow of a successful artist mother and burgeoning success-story sister (an athletic, award-winning 19 year-old poet in the film, and in real life), it proves an overbearing one.

Though this may sound like a carbon copy ‘my woeful life on screen’ vanity project on paper, Aura’s quest for sexual, societal and creative significance taps into the anxieties of a very real and thriving 20something subculture —one that barters in 21st century buzz-terms like ‘hipster’, ‘mumblecore’ and ‘unemployed’— though Tiny Furniture is well equipped to deal with any anti-apathy epithets you may want to throw at it: Aura gets a job within the first 20 minutes, it’s rather sharp and incisive in its portraiture, and Dunham is by far her own worst critic, painting Aura as a somewhat pathetic sympathetic. Tiny Furniture is not about a social outcast, at the mercy of the job market and scummy men, but rather a confused and flawed young adult, desperately seeking that ‘next step’ and succumbing to a few pitfalls on the way.

One of those pitfalls is amusingly embodied in Aura’s destructive pre-school friend Charlotte, who ends up reconnecting with Aura at a house party. Played with minx-like relish by Jemima Kirke, supposedly channeling childhood friend Paz de la Huerta, Charlotte’s engorged sense of entitlement, trust-fund lifestyle and wild personality is both a comedic crutch for the director and a cautionary warning.

Other warnings flare up in spades, such as when Aura meets minor YouTube celebrity Jed (Alex Karpovsky), and eagerly offers to let him stay at her place after he half-heartedly convinces her that he’s in town for meetings with television executives citing a possible development deal in the pipeline. This, of course, is fooey, but his manipulative worming is evident to all but Aura, who’s just lonely and desperate enough to pursue a relationship, even after he outrightly refuses.

Aura’s emotional nadir is driven home in one surprisingly poignant moment late in the film, in which we see her naked in the shower after an embarrassingly awkward sexual encounter designed to make the audience laugh. In the scene, shot from outside the bathroom door peering voyeuristically in, we watch her re-assume the sexual position she had just been in moments earlier, as if trying to relive the moment. It’s a sad and private revelation that helps reign in the film’s emotional core, with laughter subsiding to reveal the human tragedy underneath, and succeeds in setting up the enigmatically ambiguous ending — an ending which, I must say, provides a subtlety and artistry so unassuming, it sheds a refreshingly mature light on everything that comes before.

Reviewer: Pierre Badiola
Release Date: 30 March 2012
Director: Lena Dunham
Writer: Lena Dunham
Cast: Lena Dunham, Grace Dunham, Laurie Simmons, Jemima Kirke, Alex Karpovsky

Sundance London Announces Star-Studded Host Committee

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25 March 2012

DVD Review: The Erotic Films Of Peter De Rome

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Win CORMAN'S WORLD: EXPLOITS OF A HOLLYWOOD REBEL on DVD + BluRay

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2012 Pan-Asia Film Festival - Come Rain Come Sunshine, Three And A Half

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Blu-Ray Review: Corman's World: Exploits Of A Hollywood Rebel

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Watch the Trailer to Takashi Miike's AI TO MAKOTO (The Legend of Love & Sincerity)

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Blu-Ray Review: 50/50

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