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20/20 Filmsight - Film Criticism by David O'Connell

 
Film Criticism by David O'Connell

20/20 Filmsight - February 2012

POINT BLANK @ The French Film Festival

February 29th 2012 03:06




When a nurse’s aide, Samuel Pierret (Gilles Lellouche) notices a suspicious man departing the bedside of a seriously wounded John Doe (Roschdy Zem), he unwittingly sets in motion a chain of events that will turn his humble life upside down. Emulating a common Hitchcockian scenario of placing an ordinary man in peril to see how he reacts, Fred Cavaye’s latest urban thriller, Point Blank, comes replete with visual flourishes and an energetic narrative that, although lacking in credibility, provides sleek, uncomplicated entertainment.

There’s a whiff of Tony Curtis and Sidney Poitier in The Defiant Ones (1958) about Point Blank (which audaciously usurps the name of John Boorman’s brilliant 1967 revenge masterpiece for its English translation). The John Doe is actually highly sought after criminal Hugo Sartet whose brother wants him free and abducts Samuel’s wife to ensure he the aide complies. Sartet is also being sought by a gang of revengeful crooks responsible for putting him in hospital in the film’s opening scene.

The duo forced into complicity to evade the law, especially some very corrupt members whose investigation is undermining that of their colleagues at every turn. With the public on high alert, it becomes increasingly difficult for the pair to evade alert or prying eyes; a series of chases and shoot outs ensue, including one particularly hyperkinetic foot pursuit.

I’ve been a staunch fan of Zem for quite some time and though he isn’t stretched here by Cavaye’s by-the-numbers plotting, his presence is still important to the physical, if not emotional, journey these characters undergo. Beyond the corruption and double crossing there’s a comforting simplicity to the duo’s motivations: Sartet wishes to clear his name whilst Samuel will go to radical lengths to ensure the return of his wife and unborn child.

Their fates all collide in a frantic, madhouse finale that winds its way back to an absurdly overpopulated police headquarters. The quantity of people allows Cavaye to enfold his antagonists into the miasmic flow of bodies whilst providing more than adequate cover when they finally track one another down and battle for survival. No prizes for guessing how it plays out, but this diverting film has empathetic characters at least - and on both sides of the law.








The 2012 French Film Festival begins in Sydney and Melbourne on March 6 and 7 respectively with other states to follow. For all details, including full programming, click HERE.



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Buck

February 15th 2012 03:25
by David O’Connell




Buck Brannaman is the kind of unassuming guy you might consider too bland or benign to warrant a feature length documentary. Initial assumptions couldn’t be more false, for in Cindy Meehl’s warm, endearing portrait of this laid-back character we’re allowed a glimpse beyond the home-spun wisdom and iconic potential to understand what inspired Nicholas Evans’s book The Horse Whisperer and the subsequent 1998 Robert Redford film that adapted it.

There are two striking aspects about Buck’s life. Firstly, the degree of sacrifice he has long made in leaving his wife and daughter behind for 9 months of each year to drive solo around America to conduct clinics in which he treats and offers sage advice about dealing with troubled horses. Then there’s the back story of his formative years spent under the cruel hand of a vindictive, abusive alcoholic father and his moral resusitation via step-parents with very different child-rearing sensibilities.

Rather than repeat the cycle of violence established by his father, Buck has always maintained a fierce determination to fall on the opposite side of the fence; in continuing his mission he has more than sufficiently negated, and finally, eroded the dark malignant shadow cast by his supposed protector; his clinics highlight both acts of altruism and a kind of valuable community service.





There are no magical transformations on screen here; it’s the subtlety of Buck’s approach that defines a mysterious healing component, a rapport with these animals earned only over time and familiarity with their complex natures. One particularly troubled equine provides a moment of violence, attacking Buck’s consoling offsider. The truth, for the horse’s owner, when frankly acknowledged by Buck, is a little much to bear and it’s in this raw moment of confrontating a painful truth that the meaningful but occasionally over-generous communion between horse and owner is made clear.

Buck Brannaman is a man very much deserving his own feature length documentary. And Meehl, adapting a laconic, understated style, has done his story justice, allowing Buck to ponder his own influences and motivation. In so doing we’re allowed to spend a judicious amount of time with an eminently likable man, and one whose story serves as a humble but inspirational reminder of the intrinsic goodness we’re all capable of.



I say: An amiable portrait of an inspirational man who has overcome the odds to become an gently iconic figure to those with a specific need.

See it for: Simply, Buck himself. A story and man with a heart as big as Phar Lap.




Buck opens in Australian cinemas on Thursday, February 16.





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