A MAN CALLED OVE – COMEDY THAT BREAKS YOUR HEART

man-called-ove

“Whatever we do in this life, no one gets out of it alive.” This witty utterance, from a man who’s simply had enough of everything, referring to his own mortality, sets the morbidly fascinating tone of this exclusively brilliant Swedish film.

Ove is a character who has accepted his fate. Life’s portrait has lost its colour, and everyone in it has turned into an “idiot”. Ove wants to commit suicide. But the tender side to death’s ambition is a strong will to reunite with his recently deceased wife. Life began with her presence and ended with her passing. So why go on living? He is also a very ill-tempered and bitter old man. So it doesn’t take long to realise that the odds for living are really not stacked in his favour. That is until a new family arrive in the neighbourhood; a shock at first, but a family with two young daughters brings vital new energy and perspective to Ove’s life. The film turns into a heartwarming story of a man who slowly begins to realise that if we aren’t living as human beings then we might as well be dead (or surrender to death). Ove learns to how to live again.

This is not to say that Ove didn’t once play a more active part in life. The film tactfully cuts back to his childhood and early adulthood to show a graceful person who once fell deeply in love and had a great deal of ambition as an engineer. Ove loves to build things: houses, engines; he’s a man who lives for infrastructure and obeying the way things are done best, which also means you’re a fool if you don’t drive a Saab. It’s seems a stubborn characteristic from a millennial’s viewpoint, but in the tradition of Ove, rules are in place to make the world run more efficiently and therefore life is just better for it. When somebody dares to puncture the system by, for example, driving down the path that should not be driven on, it threatens to not only rupture Ove’s temper, but to destroy his entire equilibrium and cause a mental catastrophe. He’s one of those men whose admirable levels of sensitivity to their way of being allow for an occasional forgiveness toward their equally extreme mannerisms. You’ll certainly need some patience getting to grips with him.

A Man Called Ove is ultimately a microscopic character-study candidly crafted by the director, Hannes Holm. Thankfully, the material and Rolf Lassgard’s performance are both deserved of the time spent. Holm has managed to pick apart every detail of Ove’s world, which becomes more comical beat by beat. It’s an absurd world to most, no doubt about that, but the film reaches a level of uniqueness that all comedy needs in order to flourish. It cannot be defined, but it can be asserted as a miraculous achievement.

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Spy – Figeish

spyDirector: Paul Feig
Title: Spy
Production: Chernin Entertainment, Feigco Entertainment (US)

Paul Feig certainly deserves respect for his inflated and witty methods of giving the audience plenty of punch, but so much is attempted that I felt I was hardly watching a movie and something more like an explosive stand up routine. It is undeniably funny and it will be received with great pleasure from a wild flock of summer entertainment enthusiasts. The laughs collect in different measures, occasionally the self-aware slapstick will get in the way of the more developed commentaries in pursuit of social puns, and the popular culture in particular is rewarded with heavy dosage. Fits of laughter spewed out across the auditorium make oneself hard of hearing for the actual rebound, but the wicked gasps in response to such images as kitchen knifes cleanly splicing there way through flesh were sufficient enough to boost my audience predilections.

Susan Cooper is everything that a CIA agent shouldn’t be: I don’t need to spell out the long list of adjectives. Therefore, you quickly sense that the film’s objective will be to turn this around and make her kick some serious butt out in the field, instead of being cooped up behind her staunched desk with Miranda Hart. I say Miranda Hart because she sticks out like a snapping branch in the wind, though unfortunately the only miscast in what is a very attributable supporting cast. Jason Statham is uproarious as the trouper agent Rick who is an unconditional fool to believe in his dexterities, but has the warm heart underneath it all to compensate; the soul of a child even. I must note that Carlos Ponce’s character treats Italians so unfavourably and with such misunderstanding that I found it painful to watch: yes, men can lust woman, but seriously?

Thankfully, there are a few surprises along the way, but this is largely due in part to the revelations not making a whole lot of sense. When you whittle it down, the infiltrated domain of this arms dealer has no reason to exist other than to serve the surface proceedings. There is no explanation or commentary here on the severity of such dealings, but no harm done as the film is well to not be interested in such matters. Just try and imagine a logical way to reach a storyline where you become the guardian to your very own rogue. No spoilers here.

There is obvious reason why espionage outings are often given the thriller bonus rather than comedy: I doubt a member of the international intelligence goes about their jobs making a fool of themselves. Of course, this is thoroughly naïve of me, a comedy can come and go as it pleases, particularly one constructed in a spoof factory. Jonny English was novel and every attempt since has been misguided, for starters, why are these films made? An individual being totally inept at their jobs does not enrich comedy; rather it is in the working of normality where we can find the most enriching moments of hilarity. I cannot help in taking a critical standpoint to these films. Comedy is by nature a particular activity that is found in unique sensibilities (it is the delivery of a comedian that lures us), but films like Spy seek to codify conventions and displace the charm that should be associated with comedy.

spy_weaponsTo fully suspend any disbelief with this breed of film requires your inner gremlin to go through some form of cathartic release. It means embracing the consistent malfunction of life on the screen and converting it into hollow hedonisms. In other words, aim to let the thought “this is just ridiculous” rest in the back of your mind and bury it there for the duration of a spectacle that successfully completes a full-scale turnaround of glees. The film does have intelligence and it could easily be ten times worse, but can’t anything be so?

Now that the honest niggles are out of the way, I can say that Spy was a good film. 3/5

Sex Tape – Laughable Crap!

1138130 - SEX TAPESex Tape (US/2014)

UK Release by Columbia Pictures – 3rd September 2014

Directed by Jake Kasdan 

Whilst you may be having a fit about how bad this movie is, I ask you to look beyond how it appears and laugh at the satire it presents of the age we live in. Indeed, the plain fact that a film has been made about a couple that looses their sex tape in the cloud is laughable, but oddly peculiar and admirable. It is a simple concept that screams bad movie, but the film is relevant, somewhat bizarre and an awakening of how online (or should I say Apple driven) our society is; yes, beware it is a cosmic scale ad for Apple.

Each character is foolishly pleasant. Annie couldn’t be played by anyone other than Cameron Diaz (or the film would make zilch) and Jason Segel who is squeamishly admirable plays her husband, Jay. Annie’s boss Hank (Rob Lowe) is entertaining as a middle-aged CEO desperate for a line of cocaine once the family are out and with an ego great enough to forge his appearance onto iconic works of art hanging up in the home. Annie and Jay’s best friends, Robby and his wife Tess (Rob Corddry and Ellie Kemper) are simply just desperate to get hold of the sex tape and indulge in the fantasy themselves. This is cringe warfare, but if you let your hair down it can at times be raucous laughs, especially when things turn bonkers at Hank’s house in search for the tape. However, there are moments that could have been more intriguing and it is arguably a weak effort from a strong writing team of Kate Angelo, Jason Segel and Nicholas Stoller.

It is clear that Jay is a character that is still tongue-in-cheek about the fact that he ever scored with Annie and, consequently, it is amusing watching him lust over her and become frustrated at managing the relationship. In fact, the chemistry between Annie and Jay is the best thing this movie has going for it, they are actually relatable in their playful manner, even when they act like children. I am assuming that we have all acted childish with our partner once in a while? Anyway, if you want to watch what is essentially laughable crap with your partner, this is it!

Side note: if you are wondering what nudity is on show here, the movie shouldn’t disappoint!

2.5/5 stars