Looks like we've got a war on our hands ~ William Willoughby (Woody Harrelson)

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
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26 January

This is a response to Three Billboards outside Ebbing, Missouri (2017)

Wes Anderson simply directs us in such a way that he has no need to show us the territory of Moonrise Kingdom (2012) on a map for us to know that it is representational, rather than actual - whereas, in a film that is not without other relevance, it is unhelpfully obvious to any attempt to read The Dressmaker (2015) literally that what is shown has scant sense of being a real place* [though this, for some clear reasons, is also not Dogville (2003)].

If you thought that it was unlikely that a police department would have a badge in the shape of the state of Missouri, that is not the most implausible and / or unreal aspect of @3Billboards... pic.twitter.com/lqKUxN13HY

— THE AGENT APSLEY (@THEAGENTAPSLEY) January 28, 2018

However, one believes that there are better grounds for abandoning any pretence that Kate Winslet (Tilly Dunnage), returning to her mother Molly (Judy Davis), is not just a revenge-romp (if one that is dusted down with touches of fairy tale and cod psychology). In Billboards, invoking such fictions as 'When they diverted the highway' causes one to think of Psycho (1960), rather - excellently entertaining though it is – than of Bill Bryson's The Lost Continent : Travels in Small-Town America, but perhaps writer / director Martin McDonagh desires to operate on both levels ?

All this anger begets anger ~ Penelope (Samara Weaving)

If it were actually the premise of the film, it was pretty obvious from the title what the billboards would be doing. Even in terms of believing in the film and / or being asked to believe in what the film shows, likewise pinning too much (pun intended) on them cannot be done in literal terms** : people misquote what Hitchcock meant when talking about a MacGuffin, but, in that extended sense, the billboards certainly are one.

Or, rather, they patently are one, but McDonagh will have it that they are not one...

How 'How Three Billboards went from film fest darling to awards-season controversy' seems to miss the point, by talking about redemption, not about the world of the whole film... :https://t.co/qIji7AUUWb

— THE AGENT APSLEY (@THEAGENTAPSLEY) February 12, 2018

Billboards that, moreover, are let out no sooner than they are found to exist, with no notion of what repair to them could be needed, and with the bill-posting itself mysteriously carried out well after nightfall ? Is any of this an invitation to believe it, outside of the film ?

— THE AGENT APSLEY (@THEAGENTAPSLEY) February 12, 2018

So, having seen @3Billboards (2017), there's a sigh of relief, but forget the party-crowd, intent on laughing at anything that moves :

The humour is there, but not eliciting more than a snort, and the richness of it and the audacity are just not at the level of In Bruges (2008). pic.twitter.com/FVsWrczyxe

— THE AGENT APSLEY (@THEAGENTAPSLEY) January 27, 2018

Some film-references :

* Calvary (2014)

* The Dressmaker (2015)

* The Hairdresser's Husband (Le mari de la coiffeuse) (1990)

As ever, Donald Clarke is well worth a read : 'Three Billboards’ is not suffering a backlash: some people just didn’t like it ~ https://t.co/sZfGzbTWLY

— THE AGENT APSLEY (@THEAGENTAPSLEY) January 28, 2018

End-notes :

* According to Wikipedia®, the closest that we get with Billboards is Ebb, ‘an extinct town in St. Clair County, in the U. S. state of Missouri’.

** For example, as if although (and because) not rented out for the lengthy period of time found in the records of Ebbing Advertising Co. (and despite the obvious dilapidation [if one can have it, of something made of wood, not stone...] of the billboards themselves), the cogency of the installation is not going to need checking and repair before the resumption of an electrical supply. The conceit simply will not bear thinking of thus in those terms, if one had to imagine what would be an appropriate rental (rather than a figure and cash on the desk).


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

What does Rotten Tomatoes tell us about Wolf ?

More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)


23 January


www.rottentomatoes.com is notorious for summarizing a critical review as 'fresh' tomatoes, a so-called glowing one as 'rotten' - one doubts that there is much human intervention in scanning the review, or at all beyond the star-rating and the closing words, and some would invoke what they have learnt to call an algorithm (even though all of computers and the Internet are algorithms at work).

That said, one can pretty quickly pick out some choice pieces of slating a film such as The Wolf of Wall Street (2013), or some pieces of enthusiastic endorsement that might be unsaid, if people had not embarrassingly already read them, and here are some quotations from the former category about this film :

By the way, the collector’s version of The Wolf of Wall Street, and if Scorsese gets wise the Director’s Version, will consist of just one scene. It is by far the best: it comes at the beginning and says everything crisply that doesn’t need to be shoutily repeated over and over. Matthew McConaughey, never better, has a shark-featured cameo as young Belfort’s first-day mentor. He is totally hilarious, a lean, airy-gestured, epigrammatic, mad-as-a-fox cynic and crypto-sociopath: just the man to ensure good order in Moneyville as the young striped shirts learn to get in formation with the striped coke lines.

Nigel Andrews, Financial Times

One can’t help but think the film’s early enemies were asking the wrong question. Scorsese and DiCaprio have argued that no approval of Belfort’s activities is implied. This is true enough. But both men are certainly experienced enough to understand cinema’s ability to allow decent people a little recreational paddling in vicarious immorality. Scorsese’s Goodfellas – whose grammar and rhythms Wolf apes – would not be nearly so entertaining if it concerned dishonest ice cream salesmen.

and

At times, the film seems almost Hobbitian in its inability to finish a scene that is already well past its natural lifespan. It’s not often one encounters a film that could, quite comfortably, lose an entire hour. But, clocking in at 180 minutes, Wolf is just that picture. It hardly needs to be said that it’s brilliantly edited and superbly acted – Jonah Hill is hilarious as Belfort’s slippery lieutenant – but the endless repetition would wear down even the most fervent Philip Glass fan.

Donald Clarke, The Irish Times ('fresh' for giving it three stars ?)

The Wolf of Wall Street, adapted from the autobiography by the disgraced stockbroker Jordan Belfort, looks back adoringly at the sort of cavalier corruption that precipitated the recent economic crisis. There is something intriguingly contrary, even foolhardy, about asking audiences to marvel at the high jinks and profligacy that have reshaped their world for the worse.

and

Scorsese frames Belfort like a rock god, placing the camera behind him as he delivers sermons to the whooping stooges who fill an office floor that stretches towards infinity. If the film aspires ultimately to be an indictment, then it is one with tiny love hearts doodled in the margins, which is no kind of indictment at all.

and

Any oxygen in the film comes from the softly electrifying Kyle Chandler as Patrick Denham, the FBI agent trying to bring Belfort to book.

Ryan Gilbey, New Statesman

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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)