THE PROGRAM - BFI London Film Festival 2015 - Day Four

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Stephen Frears’ new fictional retelling of the now sadly familiar Lance Armstrong story is NOT a great film, but it does contain a great performance. And if Ben Foster doesn’t win an Oscar for his turn as the disgraced seven times Tour de France cheat, then there’s a really outstanding movie out there that I have yet to see.

Hugely informed by USADA’s investigation, Floyd Landis’ testimony and the heroic David Walsh’s investigative journalism, this film is not a straightforward biopic. We never meet Lance’s mum, or spend time with his wife or children. This movie is, to invert the book title, all about the bike, and all about the dope. We meet Lance as a young racer in the early nineties literally getting mud splashed in his face by dopers he will never beat unless he “gets with the programme” - and that’s the programme of micro-doping, EPO, testosterone and cortisone invented by the ever-proud and morally deficient Michele Ferrari. John Hodge’s script loses no time in taking us on a fast paced tour through Lance’s early failure, cancer, that fateful and contested meeting with Andrieus, and onto his Tour success. We’re an hour in and he’s the ultimate sports hero. But we see vanity cut him down as much as it drove on - both in returning to the Tour and in cutting Floyd Landis lose.

LFF Preview - FRENCH RIVIERA

FRENCH RIVIERA is a gripping psychological drama based on the true story of Agnes Le Roux. She was a young heiress to a failing casino in 1970s Nice, seduced by an ambitious lawyer called Maurice Agnelet.  He persuaded Agnes to use her votes to oust her mother Renee as manager of the casino, handing it in effect to a rival mafia-backed casino operator called Fratoni. Then, Agnes disappeared, never to be discovered, and the money Fratoni paid her ended up in Maurice's Swiss bank account.  He escaped to Panama, only to voluntarily come back and stand the first of many trials, prosecuted by Agnes' driven but by now penurious mother.

London Film Fest 2010 Day 4 - LITTLE WHITE LIES / LES PETITS MOUCHOIRS

LITTLE WHITE LIES is a superb film from French writer/actor/director Guillaume Canet (TELL NO ONE.) It is laugh-out-loud funny; wryly observed and reduced me to tears. What more could one want?

In a bravura opening sequence, Ludo (the beautiful, hilarious Jean DuJardin) is horrifically injured in a motorcycle crash. We watch his close friends gather at the hospital, distraught, but convincing themselves that they should still take their summer holiday in Bordeaux. After all, Ludo is in intensive care, and they can do nothing for him. It's a marvelous scene and reminded me of Austen's opening in Sense and Sensibility where Mr and Mrs Dashwood reason their relatives out of a bequest, all the time reassuring themselves that they are doing what duty requires of them. The friends then proceed to Max and Veronique beautiful summer home, where their neuroses, romantic entanglements and narcissism will be exposed. Francois Cluzet is absolutely superb playing the stressed-out, up-tight successful businessmen, ruining his and everyone else’s holiday with his strict schedules and castigation of his staff. But Max has another reason to be stressed out – his long-time, very married, friend Vincent (Benoît Magimel) has told him he’s in love with him! Poor Vincent’s wife, Isavelle (Pascale Arbillot) has no idea, other than that her husband would rather binge on chocolate than sleep with her. And then there’s Marie (Marion Cotillard), a beautiful woman who may or may not be in love with the injured Ludo, but is also being stalked by a soft-hearted musician, who turns up unexpectedly at the house with a guitar and an atmosphere of awkwardness. And finally we have two single men - Éric (Gilles Lellouche) and Antoine (Laurent Lafitte) – the former denying he is in love, the latter desperately, delusionally, boringly so. All of this emotional indulgence is played out in sharp contrast to Jean-Louis (Joël Dupuch) – the proprietor of a local beach-side restaurant who has to listen to all these characters whining, all the time fulfilling their expectation of him to play the role of jovial provincial host.

LITTLE WHITE LIES is a long film that doesn’t feel long, because we’re immersed into the emotional lives of a large cast of characters, all of whom are slightly eccentric and yet very much rooted in real life. Maybe it’s the kind of people I hang out with, or the fact that I’m much the same age as many of these characters, but it felt as if Guillaume Canet had perfectly captured the way in which an old bunch of friends interact. I found myself laughing with them, rather than at them, willing them to succeed in their romantic games, and moved to tears by their tragedies. I left the cinema feeling like I’d had an emotional work-out but also sad to be leaving their company. And that, I think, is pretty much the best praise one can give a film – when it immerses you in a world that feels authentic and makes you glad to spend time there.

LITTLE WHITE LIES played Toronto 2010 and goes on release in France and Belgium on October 20th.

RIVALS / LES LIENS DU SANG - entirely predictable French "thriller"

Writer-director Jacques Maillot recreates 1970s France in scrupulous detail in his new thriller LES LIENS DU SANG (mis-leadingly translated for its English release as RIVALS). The costumes, hair-styles, props, cars, cigarettes, music - you simply cannot fault the achievement of the production team. The problem is that while this movie is based on the true story of two brothers - one a cop, one a murderer - it lacks any narrative momentum or emotional engagement. François Cluzet plays Gaby - the errant elder brother to Guillaume Canet's straight-laced younger brother, François. Even though he disapproves of Gaby's lifestyle, François helps him get a job and a place to stay when he's released from prison. At first it seems as though Gaby will turn his life around, but the petty frustrations of life lead him back into high stakes crime. Accordingly, the denouement sees a predictable clash between the cop and the pimp. The key point about this film is that it isn't some big-budget slick police thriller pitting two rivals against each other in the manner of THE DEPARTED. It's small scale in the best sense - focusing on the banal reality of staking out prostitutes in small towns. The problem is that having taken such an approach you have to work even harder to gain and keep the audience's attention, and I just don't think this slow-paced, predictable film ever succeeds. As good as these actors are, the characters are all two-dimensional cliches. As a result, the denouement simply doesn't pack the required emotional punch.

LES LIENS DU SANG was released in Belgium and France in February and is currently on release in the UK as RIVALS.

TELL NO-ONE/NE LE DIS A PERSONNE - teeeeeee-dious "thriller"

Inside the bloated two hour run-time of TELL NO-ONE is a decent thriller screaming to get out. But sadly, as it is, this movie is over-long, poorly directed and woefully un-thrilling.

Based on a novel by Harlan Coben, the movie has been adapted and directed by the young French director Guillaume Canet. François Cluzet plays a grieving pediatrician called Alex Beck. Beck receives an email from his wife, who was apparently brutally murdered eight years previously. At the same time, the police re-open her murder case when they un-earth two bodies near Beck's country estate. Beck goes on the run from the police, seeking help from the criminal types he meets in his clinic and from his sister (Marina Hands) and her lover (Kristin Scott Thomas.) Eventually, not so much through his own cunning as other's need to talk, Beck discovers the truth.

My problems with the movie are many and various. The pacing is way too slow. The structure too meandering. Cluzot chooses to play Beck as unemotive - which makes his screen-time really dull. The deep dark secret at the centre is easy to spot if you pay attention to the huge big random bits of information that are clumsily dropped in half way through. Thereafter, the film unfolds slowly and the deep dark secret is treated simply as a plot motivator rather than explored in the depth that it deserves. Treating that particular issue as a Macguffin is especially tasteless. The denouement is even more annoying. After a supposedly tense, adult thriller we are left to wallow in sun-kissed sentimentalism that feels completely out-of-place. Frankly, this movie is a mess.

TELL NO-ONE/NE LE DIS A PERSONNE opened in the Czech Republic, Belgium, France, and Switzerland in 2006 and in Russia, the Ukraine, Israel and Turkey earlier this year. It is currently on release in the UK and the US. It opens in Sweden in August and in Finland on September 28th.