list.co.uk/fi lm Reviews | FILM
HORROR COMEDY WHAT WE DO IN THE SHADOWS (15) 85min ●●●●● BIOPIC THE GRANDMASTER (15) 108min ●●●●●
DRAMA ELECTRICITY (15) 96min ●●●●●
‘When you get three vampires in a flat obviously there’s going to be a lot of tension,’ observes 862-year-old Vladislav dryly, who shares a house with 18th-century dandy Viago and self- proclaimed bad boy Deacon, alongside the less participatory, Nosferatu-like Petyr. The New Zealand Documentary Board are granted access to these bloodsuckers as they are joined by newcomer Nick, who really doesn’t fit in. They despise his hipster antics and insistence on impressing people with his newfound vampire status, only tolerating him because of their fondness for his human friend Stu.
Jermaine Clement and Taika Waititi (who write, direct and star) have come up with an infectiously silly, frequently funny Spinal Tap-style mockumentary, brought to life by improvised dialogue, high-spirited performances and a keen knowledge of vampire mythology. However, the real beauty of the film lies in the situational humour: whether the vamps are bickering over the washing up or marvelling at new technology, joyful levity abounds. Add to that the impeccable comic timing of Clement and Waititi and you have the makings of a bloody good treat. (Katherine McLaughlin) ■ Selected release from Fri 21 Nov.
Flying fists and the agony of unrealised romance power Wong Kar-wai’s Oscar-nominated kung fu spectacle, which receives a belated UK release. Set during the tumultuous republican era, following the fall of China’s last dynasty, it finds Wing Chun expert Ip Man (Tony Leung) – the man who would eventually train Bruce Lee – pitting his skills against a retiring grandmaster (Wang Qingxiang). Our hero is then challenged, and bested, by the grandmaster’s headstrong daughter (Zhang Ziyi), with whom Ip begins a frustrated flirtation. Philippe Le Sourd’s silky, scintillating
cinematography results in action painted with the delicacy of a fine brush. Yet this doesn’t always distract from the film’s flaws. Its romance is well- played but undernourished and the plot is presented in a less-than-logical order. The prolonged martial arts displays are performed with flair and intensity, but sometimes hinder the momentum, while there’s often little more than honour at stake during scenes of sparring, meaning few moments of real jeopardy. This tough and tender biopic nevertheless makes for an elegant, occasionally exciting tribute to a man and his art-form. (Emma Simmonds) ■ Selected release from Fri 5 Dec.
The family unit has been a cornerstone of storytelling since time immemorial, and of cinema since the first moving pictures flickered into life. In adapting Ray Robinson’s novel, screenwriter Joe Fisher has created a compelling portrait of modern family life, and the role of the individual within it. Model Agyness Deyn is a revelation as Lily who, after the death of her mother, travels to London to find her estranged brother. Lily’s attempts to live a normal life are constantly challenged, not just by her family problems but also her epilepsy; she suffers violent fits that leave her disoriented, bloody and, far worse, vulnerable. Director Bryn Higgins wisely embraces the jagged
edges of Lily’s psyche. The narrative comes to blistering life through her fractured consciousness. Gloriously disarming POV camerawork paired with neon flashes representing the misfiring of synapses create a stunning insight into Lily’s character and motivations. These neurological electrical storms are a colourful contrast to the grey mundanity of the everyday, yet it’s stability that Lily is seeking. It’s a universally resonant idea transformed into something unique and wonderful. (Nikki Baughan) ■ Limited release from Fri 5 Dec.
BIOPIC THE IMITATION GAME (12A) 114min ●●●●●
The story of how Alan Turing and the Bletchley boffins defeated the Enigma machine is one of the most stirring of World War II; the British David conquering the Nazi Goliath by virtue of superior mathematics and intellectual daring. The Imitation Game is a polished account of these code-breakers which broadens its scope to encompass an exploration of Turing’s outcast status in a society wary of his genius and unprepared to accept his homosexuality. It may have old-fashioned sweep and a cautious approach to the darker aspects of Turing’s story, but the emotional force and virtuosity of Benedict Cumberbatch’s central performance make it hard to resist. Based on Andrew Hodges’ biography and marking the
English-language debut of Norwegian director Morten Tyldum (Headhunters), the film begins with Turing’s arrest in 1951 on charges of ‘gross indecency’. Flashbacks to his schooldays and years at Bletchley Park paint a touching picture of a man with few intellectual equals and even fewer social graces. Turing alienates his colleagues, exasperates his military masters (embodied by a splendidly starchy Charles Dance) and seems blithely unaware of the impact his candour has on those around him. His rational mind also makes him blind to the sexism of his era, as he becomes a fond champion of Joan Clarke (Keira Knightley in Celia Johnson mode), an equally formidable intellect with the disadvantage of being a mere gel. The Imitation Game is a triumphant slice of British heritage drama boasting engrossing intrigue, as brilliant brains battle impossible odds to save millions of lives. And Cumberbatch’s touching portrayal of a beautiful mind and a tortured man pushes it into the arena of 2014’s Oscar contenders. (Allan Hunter) ■ General release from Fri 14 Nov.
13 Nov–11 Dec 2014 THE LIST 59