Ocean’s 8 – review

Image result for ocean's 8

Ocean’s 8 is a sequel to the earlier Oceans franchise starring George Clooney, Brad Pitt, and Matt Damon, among others. Sandra Bullock plays Debbie Ocean, the sister of Clooney’s character, who has since died. Debbie is determined to pull off a heist she has been preparing for while in prison, ever since she was double crossed and set up by her ex-boyfriend. To help, she assembles a crew, including Cate Blanchett, Rhianna, Helena Bonham Carter, Sarah Paulson, and Mindy Kaling.

The most positive aspect of the film is the occasional use of rundown locations, such as disused and repurposed industrial buildings, a frequently unobtrusive camera, and scenes which are very often underlit. All this hints at the possibility that director Gary Ross was flirting with the style of seventies’ films such as The French Connection or The Friends of Eddie Coyle. Most intriguingly, is the recurrence of shots through glass or which use reflective surfaces. Windows, glass panels, phone and computer screens, and precious jewels dominate the mise-en-scene.

These more interesting stylistic elements – the attempt at seventies style grit, combined with the dominance of shots which reflect the overall plot (the heist of a diamond necklace), are too tentative, and are drowned out as the film opts for the more predictable foregrounding of slow motion walking, or shots designed for no other purpose than to make the principle cast look cool.  These are the weakest moments of the film. Sadly, they populate the movie too often, and are clear attempts at creating a slick crowd pleaser which is at odds with the detached and restrained performances of Bullock and Blanchett in particular. This creates an uncomfortable fit between two stylistic approaches which ultimately fail to hold together.

It all falls apart during the climax, which resorts to having characters explain what has just happened out of the view of the audience – complete with flashbacks of events which the viewer previously knew nothing about. We are also not shown the ultimate fate of the villains, and due to the effortless criminal competence of the lead characters, there is very little tension during the heist and subsequent fall out. The film is compromised stylistically and narratively. This is a common problem for Hollywood films which are concerned above all else with making its cast look untouchable.

This is not to say that Ocean’s 8 is unenjoyable. The cast are all excellent, and a genuine double act is formed between Bullock and Blanchett. Any sequel which gave them a tougher task, or put them under a bit more narrative pressure, could work well. There are also several effective moments of dialogue, and some entertaining interplay which is entirely expected of a cast this strong. They look like they all had a good time during shooting, and while this is not always desirable, in an ensemble piece the spark and connection between the leads is necessary.

Ocean’s 8 is an attempt to create a low key Hollywood movie which is dependent on a quality cast, good writing, and solid directing. It succeeds in moments, but overall doesn’t quite achieve the promise of its earlier scenes.

 

Burma VJ introduction

Below is the transcript for an introduction I gave at the University of Kent on 4th February 2014 for Burma VJ (Anders Ostergaard, 2008). The event was part of the campus takeover/politics week run by Kent Union.

The screening took place in the Lupino, the university’s dedicated screening room.

Film Sundance Burma VJ

Burma VJ has an unusual production history. Much of the footage is shot in Burma by activists on the ground during political demonstrations. But the film was compiled in the West, after the footage was smuggled out of the country. I am not going to talk much about how the film was made, because that will become evident as you are watching it. The film is, in many ways, about its own creation. Instead, I am going to briefly discuss some of the vital themes the film touches on.

Though the film deals with a very specific set of events from a particular place and time in history, it is an important indicator of some of the ways protest and activism has changed around the world. In particular, the film chronicles how effective the use of camcorder and video recording technology can be to political activists.

Camcorders are used in the film to expose authoritarian and institutional abuse, and to expose the often brutal reaction by authorities to direct political action. In protests worldwide we can see how the use of camera-phone footage dominates reporting on civil unrest, with much news footage comprising of pictures taken by the citizens involved.

Burma VJ is a prophetic film. The year after the film was made Neda Soltan was killed by police during an anti-government protest in Iran. Her death, captured on mobile phones by her friends, was broadcast worldwide, and was used to shine a light on events in Iran happening at the time.

In the UK, in a political climate far less intense than either Burma or Iran, we saw how footage captured by civilians can be used to hold authority to account. Ian Tomlinson died during the G20 protests in the same year as Neda Agha- Soltan – 2009. The first police reports of his death, ones which were repeated widely in the media, were that he had collapsed, and that protesters had bombarded the police as they attempted to resuscitate him. These stories were soon contradicted by eyewitnesses, and several days after Tomlinson’s death video footage emerged which confirmed that he had in fact died after contact with police, and that protestors had not thrown anything or attempted to prevent police from giving first aid. The incident culminated in a police officer being tried for manslaughter.

These incidents highlight a recent development in political activism. We have to acknowledge that the process of recording is a two way process. The police use video to record protesters – and protesters will increasingly use video to record the police. Both are vital to democratic processes. Rather than providing a full stop to this debate, Burma VJ helped to mark the beginning of a new era of political activism.

Waves of Horror 2015 news

In the lead up to the Waves of Horror 2015 festival we are hosting a series of one off screenings, beginning with The Strange Colour of Your Body’s Tears (Helene Cattet, Bruno Forzani, 2014) at the Gulbenkian cinema in Canterbury on Monday 23rd February at 9pm.

It will be followed by a series of other European horror films including Martyrs on Thursday 5th March at 9pm(2008) and  Amer Tuesday 10th March at 6.30pm (2009).

All of this is in preparation for our big annual festival, taking place this year on Halloween weekend 30th Oct – 1st Nov. Hopefully we will be hosting a short film competition as part of the festival weekend.