Philomena

An emotional British/Irish drama directed by Stephen Frears, based on a heartbreaking true story, and featuring Judi Dench in the title role, the film adaptation of Philomena was destined for attention.  And it is a solid enough drama, worth a watch - it's just that the film is so clearly less valuable than its components, the combination of which ensured it was catapulted into awards contention anyway.

That's not to say Philomena doesn't give you a giggle or encourage a few tears while uncovering a story which deserves to be told, but it does beg the question: what story is it trying to tell? A number of important issues, worthy of exploration, are thrown up in the course of Philomena's journey to find her long-lost son - yet the film skims over them. At times it seems the story is guided by the emotive Oscar nominated score, rather than the other way around.

The culture clash between sweet, disenfranchised Philomena and the arrogant journalist, Sixsmith, is played out for laughs, rather than a lingering symptom of the class system which is partly responsible for Philomena's troubles in the first place. A meal is made out of Sixsmith's emotional growth, but said 'growth' boils down to scenes of him tolerating conversation he doesn't enjoy and the massive sacrifice of deciding (twice!) to accede to Philomena's wishes, which (twice!) she's naturally already aligned to match his. Not much of an evolution.

Wrapped at the core of the film is fact that women and children were treated extremely badly by institutions like the Catholic Church, which ruined lives and created tragedies under the guise of helping the vulnerable. But the Church does not have a monopoly on causing pain: the ongoing efforts of these mothers and their children to find each other should certainly be recognised, as should human rights abuses all around the world.

The difference in this story, and where the film could have elevated itself on its own merits, is the attitude of Philomena Lee to her personal experience. She comes to a conclusion stunning in its simplicity, which could have been the whole point of the film - but it's wasted, the important moment immediately numbed by cheap emotion, then comedic babble. It's hard not to be cross with a film which could have been even better than its reputation, but which, despite laughing at pop culture, still chose commercial sentimentality over considered reflection.

Another well-regarded film based on a true story and featuring Judi Dench is Iris, a love story through life, which is not an easy watch, but features superlative performances from four fantastic actors all at their very best. Co-starring Jim Broadbent in an Oscar-winning role, supported by Kate Winslet and Hugh Bonneville.

August: Osage County

With a cast of luminaries and a screenplay of crackling dialogue, (adapted by Tracy Letts from his award-winning play,) family drama August: Osage County was surrounded by awards buzz while still in production.

Unfortunately, when released, the hype died down and the critical reviews piled up... I think understandably. It's a difficult film to describe, especially since I did have such a good time watching it.

The characters, (gathering for a family reunion, of sorts,) are stylised caricatures, yet somehow weirdly true to life.  And the things they say! I honestly don't think I've ever heard such incredible dialogue in a modern movie, with the rapid-fire delivery of perfect insults reminiscent of a forties screwball - except that here, the gloves are off and the swear jar's been smashed to pieces.

The ensemble cast inhabit their roles well, with several standout performances, (ironically enough most of the cast showing up the leading lady, whose flashy, overinflated performance has notched up another Oscar nod anyway, because, hey, it's Meryl Streep.) The characters' shifting alliances, tendency to the macabre and constant friction are a deliciously saucy blend.

It's just that this fine sauce covers a pretty rancid story. The frequent dramatics can only disguise the rapid downward descent in tone for so long, before it's a dark whirlpool dragging everyone down. Perhaps that was the point, or perhaps there are layers in the stage play missing in the film - but I found certain plot reveals repugnant in their unbelievability, and the obvious back-engineering to make various issues more palatable had the opposite effect.

Despite this, there's just something about August: Osage County that's worth a visit, whether it's the cathartic bliss of Julia Roberts losing her shit so spectacularly, visions of the sweltering heat of the Oklahoma plains, ("a spiritual affliction, like the Blues"), or the realisation there's no human on Earth who hasn't been screwed up by their parents.

Not sold, or looking for a dysfunctional family movie that's a little less Chinatown, and a little more Parenthood? Try recent classic Little Miss Sunshine, a Best Picture nominee and the winner of the 2007 Oscar for Best Original Screenplay.

The Lost Weekend

Handsome, up-and-coming writer Don Birnam is being taken away for the weekend, but at the last minute, manages to dodge his attentive girlfriend and long-suffering brother.  The people who care about him out of the way, The Lost Weekend belongs to Don's true love: alcohol.

With a screenplay adapted from Charles R. Jackson's semi-autobiographical novel and Billy Wilder directing, The Lost Weekend became a smash hit, despite its formerly taboo subject - and it has stood the test of time remarkably well.

The success is in large part due to the film's uncompromising take on an alcoholic's behaviour.  Brilliantly portrayed by Ray Milland in an Oscar-winning performance, Don is a man broken by his desire for liquor and willing to go to any lengths for a drink - yet his descent into cunning manipulation, petty thievery and thuggery never becomes silly or mawkish, and the use of stylised monologues and flashbacks to allow the audience access to his thoughts is clever, without being melodramatic.

Barely striking a false note, (the exception perhaps being the film's slightly suspect but understandable conclusion,) The Lost Weekend was something quite different for Wilder, but as the Best Director, Actor, Adapted Screenplay, and Best Picture Oscars attested, it was exceedingly well done.

For crazed, comedic, and darkly melancholic take on addiction, look no further than cult 80's film Withnail & I.  Withnail and his roommate are actors struggling for recognition, living in a scuzzy flat and abusing any substance that comes their way.  Featuring an utterly electrifying performance from Richard E. Grant as the self-destructive Withnail.