|
Forwardcharm |
 |
Latest News 09 / 09 / 2010 30 / 08 / 2010 29 / 08 / 2010 22 / 08 / 2010 01 / 08 / 2010 01 / 08 / 2010 25 / 07 / 2010 11 / 07 / 2010 11 / 07 / 2010 27 / 06 / 2010 13 / 06 / 2010 30 / 05 / 2010 30 / 05 / 2010 16 / 05 / 2010 16 / 05 / 2010 10 / 05 / 2010 10 / 05 / 2010 19 / 04 / 2010 18 / 04 / 2010 06 / 04 / 2010 05 / 04 / 2010 03 / 04 / 2010 29 / 03 / 2010 14 / 03 / 2010 09 / 03 / 2010 08 / 03 / 2010 17 / 02 / 2010 16 / 02 / 2010 31 / 01 / 2010 25 / 10 / 2009 02 / 08 / 2009 18 / 08 / 2005 |
Interview
Interview is one of the talkiest talkies you'll ever see. Whether or not you think it's any good will largely depend on your reaction to that statement.
Interview is a two-horse piece, with Steve Buscemi and Sienna Miller taking up the vast majority of screen time themselves. While we all know Buscemi can handle this kind of screen responsibility, it's something of a surprise to find that tabloid favourite and Jude Law's ex Sienna Miller can too. Buscemi is a political journalist, reluctantly assigned to interview Miller's fluffy soap diva - but neither is as they seem. The dialogue darts about, cleverly winding in on itself, which makes it entertaining to listen to but does nothing for its credibility.
Interview is pretty good - I enjoyed it - though it will most definitely not be everyone's cup of cocoa. Compelling to watch, though not as thought-provoking as you might expect, it's one of the better talkies we've seen for a while. I enjoyed this film: I think the average moviegoer will enjoy it: Testosterone Satisfaction Rating: - we see cocaine used but nothing to raise the pulse. To enjoy this film you should be: into talkies.
|
||
Interview is the first of three remakes of Dutch movies originally made by Theo van Gogh, a controversial political
commentator and
fraternal descendant of the ear-slicing painter. The release date of the movie coincides with the third anniversary of
his assassination by some nutter as a reaction to one of his more inflammatory movies. I wonder if Michael Moore is
feeling nervous.
Aside from the first ten minutes or so, the
whole piece is shot in Miller's apartment, Sleuth-style, with three hand-held digital cameras operated by the same crew
who made the 2003 original. The wobbling is occasionally intrusive, but on the whole the technique gives a feeling of
space and freedom, which I'm sure is the intention. The 84-minute running time is unusually short, but it feels longer,
and certainly doesn't feel cropped in any way. The characters are mixed bags, both flawed and skilled in their own areas,
and they both bounce between moods incredibly quickly, but neither succeed in really building any emotional involvement -
but then given the light twist at the end, maybe that was the point.
