There's a swagger about Mike Figgis's deconstructing film-within-a-film concerning a troubled screenwriter
Mike Figgis is one of the most creative figures in British cinema, and one of its shrewdest critics. He mastered the Hollywood system in the 1990s and then became a digital pioneer with his 2000 movie Timecode. Since then, he has been an experimentalist, and there is a Godardian swagger and challenge in his new film, a self-deconstructing movie-within-a-movie about illusions, reality and falsehood. It has some interesting ideas and funny moments, but, finally, it was just inert. Sebastian Koch plays Martin, a troubled screenwriter whose daughter Sarah (Rebecca Knight) is acting in his new film, playing a role that may be based on his wife who disappeared 15 years before. A violent crime upends his world and is investigated by Dci Bullock (Kenneth Cranham), a wannabe screenwriter who wants Martin's opinion on his script. It runs out of steam early on,...
Mike Figgis is one of the most creative figures in British cinema, and one of its shrewdest critics. He mastered the Hollywood system in the 1990s and then became a digital pioneer with his 2000 movie Timecode. Since then, he has been an experimentalist, and there is a Godardian swagger and challenge in his new film, a self-deconstructing movie-within-a-movie about illusions, reality and falsehood. It has some interesting ideas and funny moments, but, finally, it was just inert. Sebastian Koch plays Martin, a troubled screenwriter whose daughter Sarah (Rebecca Knight) is acting in his new film, playing a role that may be based on his wife who disappeared 15 years before. A violent crime upends his world and is investigated by Dci Bullock (Kenneth Cranham), a wannabe screenwriter who wants Martin's opinion on his script. It runs out of steam early on,...
- 7/18/2013
- by Peter Bradshaw
- The Guardian - Film News
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