Since his feature debut nearly twenty years ago, director Wes Anderson has established himself as one of Americas most original and creative filmmakers, with a unique and utterly recognizable style. The Grand Budapest Hotel is in many ways the climactic height of his career so far, as it features his largest ensemble and most ambitious story to date. Lead by a deliciously ludicrous turn from Ralph Fiennes this is perhaps Anderson’s most entertaining film since The Life Aquatic with Steve Zissou (2004), and much is due to the man most known for his interpretations of Shakespeare, Dickens and other heavy dramas. It really makes one wonder why Fiennes does not unbuckle his belt more often for loose and colorful laughs like this. The Grand Budapest Hotel is the funniest film of the year so far, and don’t be surprised if it actually leaves you thinking about the importance of friendship and loyalty as well.
Inside Llewyn Davis is the title of the new film by the Coen brothers, which arrives nearly four years after their previous outing True Grit, an unusual long hiatus for the acclaimed filmmakers. At the same time it is clear to see why Llewyn Davis is the man who brought them back, as this playful story gives the impression of two veterans really enjoying themselves behind the camera. The story follows the title character, played by Oscar Isaac, as he drifts through the folk music scene in New York. After a few supporting turns in high profile films like Robin Hood, Body of Lies and Drive it is endlessly satisfying to see Isaac in his first major leading role. He is a revelation as Davis, not just due to his impressive musical abilities (he completely holds his own when put up against the likes of Justin Timberlake) but in possession of charm and charisma, it is simply impossible to take your eyes off him. As always, the filmmakers surround their story with a superb ensemble featuring stellar turns from John Goodman, Carey Mulligan and Adam Driver to name a few. A refreshingly light but still very personal offering from the Coen brothers.
With its ten (count 'em, ten!) Oscar nominations, but not a single win, it is perhaps tempting to think of American Hustle as the film that was almost the greatest. However, for many involved, it is. David O. Russel, director of great movies like Three Kings (1999), The Fighter (2010) and one of the most overlooked comedies of the 90’s Flirting with Disaster (1996), has made his most invigorating and lively film to date. Recruiting familiar faces like Christian Bale, Amy Adams, Bradley Cooper and Jennifer Lawrence (the two ladders in many ways owing the high standard of their careers to Russell from Silver Linings Playbook) and teaming up for the first time with writer Eric Singer turns to be a valuable collaboration for all involved as this is a triumph in both acting and storytelling. Not only does it contain some of the most memorable scenes of the year, it also features terrific camerawork from Linus Sandgren and is ferociously put together by Russell and his editors. A definite milestone for the director, who apparently now has the power to get Robert De Niro to appear for one single scene. Now that tells you something.
ESSENTIAL LISTENING THIS MARCH:
One of the most secure guarantors of dark Norwegian rock music is Sivert Høyem. The former Madrugada front man has delivered quality well into the second decade of his career. Endless Love is his fifth solo studio album and despite certain tongues in both media and audience will claim it’s more of the same, the fact is that this record shows more than any previous how much Høyem has grown both as a vocalist and songwriter. Even though this is thoroughly recognizable material and sound, the attention seem to be more in the details this time around, making the album the most rewarding experiences of Høyem’s solo outings so far. Despite all this, there is a tremendous amount of energy boiling underneath, waiting to be unleashed and even though a satisfactory climax never arrives in the decibel sense, there is a world of joy to be found at the heart of this album, particularly after a number of exposures.
Despite being released on the other side of Christmas, the next entry didn’t find its way to this writer until last month. After minor contributions to several soundtracks over the years, it was only a matter of time before French electronica outfit M83 became the sole composer(s) of a motion picture score. The soundtrack for You and the Night (Les rencontres d’ après minuit) is a well-balanced and at times gorgeous companion to Yann Gonzalez’ film. The familiar elements of trademark M83 are present throughout, but there is another layer to this collection that separates it from previous studio albums. Atmospheric and eclectic, it has moments of haunting melodies that will follow you around for days, making it a successful soundtrack that manages to stand on its own without the accompanying imagery.
It may be one of the worst album titles ever, but thankfully Teeth Dreams marks the return of The Hold Steady, their first release since 2010’s Heaven is Whenever. The quartet from Brooklyn are a welcome return to a market that too often seem crowded by young rock bands that could benefit from another year or gig under their belts before heading out into the world. The Hold Steady represent a classic and solid rock and roll outfit that has grown stronger by each release, and with their sixth studio album they could be well on their way to the peak of their career. Teeth Dreams is not flawless though, and at times it feels like the band may be overcompensating after a long hiatus. It could have been a more simple and clean cut record, but after all, the terrific techniques and vast sounds are part of what makes this band great.
The second track off the record, Spinners, is a fitting example of all this. It also comes with an exquisite video from Dustin Grella.
