Here's my first review from the LFF, where I take a look at the opening film, 360. Lots more to come.
Also, this is my 200th article for Den of Geek, almost 3 years since my first piece for them went online. The site's grown a lot since then, but there's still plenty of developments on the horizon - and I'd like to think my writing has improved, too. Thanks to the Geeks-In-Charge for letting me write all this nonsense for them.
Since bursting onto the international scene with City Of God, Brazilian director Fernando Meirelles has received untold goodwill from the global critical community. His English-language debut, 2005’s liberal guilt epic The Constant Gardener, received just as many award nominations as his Brazilian breakthrough, and also netted a Best Supporting Actress Oscar for Rachel Weisz in the process.
Indeed, the legacy of these two peaks has proven so long-standing, that the box office failure Blindness has been all but forgotten, and his latest film, 360, takes pride of place as the opener for this year’s London Film Festival. Heralded as the new work from an international artist, the film bears more than a passing resemblance to the work of an uninspired hack.
Ostensibly influenced by La Ronde, a play which attempts to survey the sexual and moral aspects of society through a number of encounters between various characters, 360 takes the viewer from Vienna to Denver, via London and Paris, as it weaves together numerous narrative snapshots concerned with love, life and - sigh - the human condition.
While this approach is in one sense ambitious, tackling universal themes by exploring small moments that have major consequences, it is also insultingly shallow, as Peter Morgan’s script moves from one instance to another, giving only rudimentary depth to each sequence, and merely focusing on how the characters fit together in the film’s smug over-arching structure.
Read the full article here.