Writer and director Richard Ayoade (The IT Crowd The Mighty Boosh) claims copious influences for his feature debut and the film can’t help but remind us of other indie-flavored coming-of-age flicks like Rushmore and Harold and Maude but Submarine is a decidedly and endearingly unique film. In a season where most of the films we flock to see merit descriptors like “super ” “action-packed” and various forms of the word “huge ” Ayoade’s little dark comedy creeps along below the water line ready to pop up and deliver a delightful surprise for summer movie goers.
Adapted from the novel by Joe Dunthorne Submarine tells the story of Oliver (Craig Roberts) a rather strange highly-intelligent 15 year-old boy who’s determined to lose his virginity by his next birthday rescue his parents’ ailing marriage and to see it all retold in an epic New Wave-y cinematic tribute. This idea that his life will be retold on film flows throughout the film contrasting Oliver’s grandiose retelling of his life against its stark realities. Ayoade allows us to see how unreliably Oliver tells his own story but as the plot thickens we tend to get almost as lost in Oliver’s fantasies as he is.
Oliver’s virginity-ending quest leads him to his girlfriend an eczema-riddled pyromaniac named Joanna (Yasmin Paige). He’s picked her out as being most likely to acquiesce to his proposal thanks to various calculated social factors and thus their adolescent romance begins. While Oliver is exploring his relationship with Joanna – greatly consisting of her burning the hair off his legs with matches while he reimagines their romance as captured idyllically on super 8 film – Mr. and Mrs. Tate’s (Noah Taylor and Sally Hawkins) relationship is slowly crumbling. Jill Tate’s old flame Graham a new age life coach with a useless theory about colors (Paddy Considine) moves in across the way sending Jill into a bout of reminiscence and a longing for her youth that stands to threaten her marriage. Oliver being the precocious young man he is is determined to barrel in headfirst to fix his parents’ ailing marriage which he’s been monitoring for months using the dimmer switch setting in their bedroom. (And it’s been on the sex-less setting for quite a while.)
Of course the most obvious reason this film works is Ayoade’s tight script and meticulous direction but the lynchpin is certainly the fantastic cast. Roberts and Paige though both very young fill the screen like two adults trapped in adolescent bodies. Tayor is fantastic as always but Hawkins ably treads the wafer-thin line between goofy hilarity and the complete and total sincerity of a housewife in crisis. Considine’s Graham gets a little cartoonish at times but those moments are reigned in with a little help from Hawkins.
Ayoade lends a sort of film-brat aesthetic to Submarine playing with French New Wave elements and giving nods to films like Love in the Afternoon. Of course the fact that Oliver is so inclined to remember his life in film scenes helps to unleash the techniques in Ayoade’s repertoire. In other settings this combination may have felt a little jumbled but the story almost begs for it here. Bolstering Ayoade’s plethora of techniques is the style he chose for the film. It’s a bit retro but not overly so. Ayoade situates Oliver’s gloomy seaside town in a timeless space that feels simultaneously old fashioned and completely fresh.
Finally tying all the elements together with a big bow is the soundtrack comprised of original songs by Alex Turner of The Arctic Monkeys. While he had some of the tunes composed before Ayoade brought him in to work on the film the tracks perfectly complement Submarine’s style providing the cinematic drama that Oliver would approve of without undermining the understated reality that he’s so determined not to see.
It certainly doesn’t feel like Submarine is Ayoade’s debut. He’s done his fair share of writing and directing getting behind the scenes on a few British television shows and directing music videos for The Arctic Monkeys and Yeah Yeah Yeahs but this film feels like it comes from someone who’s been in the feature film business for years. It’s seemingly without glaring rookie mistakes or hiccups. And while the retro indie dark comedy vein often lends itself to overdrawn quirk Submarine doesn’t.
Film-brat elements aside at its heart Submarine is a fiercely genuine slightly complicated and completely lovable film.
If you thought the Viking Age was uninteresting in that old history textbook Pathfinder does it one better by actually upping the boring ante. In fact even ye Old World buffs out there will be disoriented. It’s set “600 years before Columbus ” when “people had to guard America’s shores from marauders.” One of those most noble guardsmen was Ghost (Karl Urban). Native Americans happened upon him as a young orphan boy and decided to raise him as one of their own--even though he was never truly accepted due to his unknown ancestry. Fifteen years pass and Ghost once a frail child has blossomed into a beast-sized man capable of warding off almost anyone. His size and skill set come in handy when Norse invaders look to raise hell in his village. Armed with horses swords and thorny helmets they kill and maim everyone in sight and mostly get away with it. That is until they mess with the object of Ghost’s affection Starfire (Moon Bloodgood) thereby seriously messing with Ghost. You don’t put Ghost in a corner! Beefcake actors are apparently a dime a dozen these days and Pathfinder lead Urban does nothing to separate himself from the supporting actors of his own movie let alone from the aforementioned Hollywood stereotype. Looking like a runway model on steroids the Lord of the Rings and Bourne Ultimatum star only stands out aesthetically here and is in danger of being pigeonholed and typecast for a long time to come. Unless he can somehow show a different side Urban will wind up on a long list with the likes of wrestlers-turned-actors who can’t act. Thing is in Pathfinder he can’t even manage the uber-virility his character is meant to project. Bloodgood (Eight Below) meanwhile owner of the best non-porn name in showbiz holds her own and softens things up in a movie otherwise completely dominated by males. And finally there's veteran Native American actor Russell Means (Natural Born Killers) who as the Pathfinder himself at least lends some desperately needed credibility. Looking up a director’s name and past work isn’t a fair way to pre-judge his or her movie but it may sometimes hint at what you’re in for. Take Pathfinder for example: Director Marcus Nispel's past work includes Texas Chainsaw Massacre and music videos. Massacre was terrible and music videos are stylized; thus we arrive upon Pathfinder which is terrible and stylized. When parents complain about violence in the movies this should be their focal point. Nispel like other offenders is unable to ever refrain and beheadings and such in all their slow-motion glory resemble fun video games. Not that his lack of morality makes Pathfinder the crap it is however. That blame rests on his apparent decision that such violence is all moviegoers want to see. And it is perhaps the sheer lack of a story that accentuates how mediocre the violent scenes really are--scenes that are meant to leave us agape in amazement as if we’ve never seen a loose eyeball on the screen before. On a (lone) positive note though the set design seems up-to-snuff.