Willkommen in Marwen

It's unusual for me to go into a film knowing so little about it: no trailers other than a snippet that showed it was Steve Carell starring and appearing as a plastic figure of himself. That's it. Period. After watching the film this evening, I've been astonished to see that it has TOTALLY BOMBED at its opening weekend in the US. Because personally I really enjoyed it.

For once, I'm not going to go near the plot, since going into this movie cold was a genuine pleasure. All I'll do is set up the situation: that Steve Carrell plays Mark Hogancamp who is an artist who's constructed a model installation of a WWII Belgian town - Marwen - in his back-yard. Against this backdrop he is photographing epic WWII encounters between his plastic alter-ego, Captain Hogie, and various other figures, some friend, some foe.

It sounds completely bonkers. And indeed it is. For the first quarter of the film, I was really trying to grasp whether I should be reaching for a very low IMDB rating or not. But the screenplay, by director Robert Zemeckis and "Edward Scissorhands" writer Caroline Thompson, is clever in only disclosing its hand slowly and with the minimum of exposition. For me, the very best sort of storytelling. (Even at the end of the film there were some elements of the story still left unexplained... who, for example, was Deja Thoris (Diane Kruger) based on? I can guess... but only guess). Gradually the pieces of the jigsaw came together and I started to warm to it more.

But then something odd happened. Steve Carell got in my head. I suddenly got 100% invested in what happened to Mark to the point where - with a car tyre involved... you'll know the bit - I suddenly realised I was sat bolt upright on the edge of my cinema seat. I don't get that level of emotional engagement that often.

Carell is without doubt a superb actor. We saw it with "Foxcatcher". I've seen it again in the (soon to be UK-released) "Beautiful Boy". Here he delivers what I think is an EXTRAORDINARY performance: and if it wasn't for the sniffy reviews, and the bad box office word of mouth I feel Carell should surely have been - no pun intended - a shoe-in for an Oscar nomination.

Elsewhere in the cast, most of the other characters - many female (it's certainly not the most on-trend politically correct movie!) - spend most of their time in plastic form, so it's difficult to comment on their performances. But the talented combination of Janelle Monáe, Gwendoline Christie, Eiza González (from "Baby Driver"), the statuesque Stefanie von Pfetten and Diane Kruger all turn up. Getting the most 'real world' screen-time though is Leslie Mann as Mark's new neighbour Nicol ("without the e"). And very good she is too.

The repeated and seamless flips between the real-world and Marwen are artfully done and the plastic characters are beautifully realised. Yes, it's CGI but its really cleverly done CGI. A delicate balance between the photo-realism of Pixar and the clunky puppetry of Team America.

We even dip in at one point to some full on Sci-Fi where Zemeckis can't help but delve into an aspect of his past filmography: scenes that made me laugh out loud.

One of the benefits of the model scenes is that they can get away with some pretty extreme puppet-on-puppet violence that would have definitely not got it a UK-12A certificate otherwise! A shout out also to Zemeckis-regular Alan Silvestri, who delivers a lovely soundtrack including a really cheeky Great-Escapesque little motif.

I've praised the screenplay for its reserve and intelligence, but on the flip-side there are a number of elements that don't sit well: There are a few extremely dodgy lines that jerk you out of the story (and I'm not talking about the deliberately tongue-in-cheek ones, as many of them are); some of the humour (and there are some good gags in here) seems somewhat misplaced within the overall tone of the film; the film verges towards the overly melodramatic at times, bringing to my mind the old Harrison Ford flick "Regarding Henry"; and a few of the characters seem to be messily discarded without further comment (Nicol's 'boyfriend' Kurt (Neil Jackson) for example).

I didn't pay much attention to the opening statement on the screen. Which made the closing caption, after so much fantasy, act as a stun grenade on me. Mark Hogancamp is a real American, and the film is based on real events! There is a 2010 documentary based on the guy called "Marwencol" which I haven't seen but would like to: many people on the internet rave about it. This seems to be part of the negative reaction: many who love the documentary don't want to see the memory sullied by a dramatic work of fiction.

But I really enjoyed this one. It has its flaws, sure, but my rating completely ignores the critics and the public view (which irritatingly seems to be largely based on "word of mouth" - what an evil phrase - rather than people who've ACTUALLY SEEN IT). My recommendation would be to ignore the bad press, go see it, get through the first quarter with your mouth agape ("We are not a codfish Michael") and then go to One Mann's Movies and tell me what YOU thought.

(For teh full graphical review, go to One Mann's Movies on the web or Facebook. Thanks).

After drunkenly confessing a love of wearing stiletto heels, comic book artist Mark Hogancamp is gay-bashed (ironically, he is not gay). The attack leaves him with what I (not a medical person) assume is brain damage, of which one effect is the loss of his drawing ability. Denied that, instead he channels his artistic leanings into constructing in his garden a World War Two Belgian village, populated with an Action Man-like doll as his own alter-ego, war hero "Cap'n Hogie" (who wears stilettos to "feel the essence of Dame"), and Sindy- or Barbie-like dolls representing various women in his life (his care assistant, a friendly woman in a hobby shop, a pornographic actress...) Using these dolls - often in scenes in which Hogie, captured by Nazis (representing Mark's assailants), is rescued by the women - Mark works through his personal demons and his photographs of the scenes give him a second artistic career. But his emotional equilibrium is threatened both by the arrival of kindly neighbour Nicol (who, somewhat unbelievably, does not find it remotely creepy when Mark immediately gives her her own doll equivalent in Marwen) and also by Deva the mysterious evil Belgian witch doll...

This is based on a true story, which may explain why we are spared the usual melodrama in which Mark's awful ordeal would usually be portrayed. Instead, he is presented as someone whose life has been severely affected by his assault, but who, as anyone would, is trying to cope and put his life back together: a couple of shouty episodes aside, he is a subdued, but not totally withdrawn, character. This, however, seems to result in a patchy performance from lead Steve Carell (in what I cynically imagine is the kind of role actors accept in the hope it will bag them an Oscar): whereas he is suitably gung-ho when voicing Hogie, as Mark I found his performance curiously detached. Of the other performances, the stand-out is Gwendoline Christie, but not in a good way: her Russian care assistant is so over-the-top it is as if she has just wandered in from a 'Carry on' film - it says a lot about her performance that she is more realistic when portraying a plastic doll.

Speaking of plastic dolls, the animated/CGI sequences are nicely done, both technically and also in injecting a little bit of humour into the film, while never swamping its central message of a man being forced to adapt to a change of circumstances that is not his fault. Ultimately, however, the quieter, real-life sequences - human interest drama I would usually appreciate - suffer in contrast to the colourful animated bits and I left the cinema undecided as to whether I had actually enjoyed the film or not.

...somebody dares to think outside the box in this day and age. Thank you Robert Zemeckis for daring to push the envelope and revealing more of the ongoings in the human mind than most documentaries are able.

This is an extraordinarily grown up film - skilfully portraying the workings of the inner mind. Trusting the audience to stay in touch with their younger self, to receive the message, is a mind twistingingly daring approach to great film making.

Arguably skipping the BOATS (Based On A True Story) aspect and tweaking the script into pure fiction would have been beneficial to the broader audience. This for two reasons; the concept is strong enough to stand alone and all viewers could watch without prejudice. As it stands some viewers will carry a pre-conception as To how the story "should" be told.

However, the main reason for falling short of giving Welcome to Marwen a 10/10 is insecurity from this reviewer. The format is so fresh that there are few points of reference - this rating may well improve over time.

It IS a must see, also an invitation to grow up - and get back in contact with the; playful and curious approach to learning so many of us have forgotten.

I don't understand why the reviews are so bad. This is an original, unique story based on real events (that isn't a remake or a superhero movie) that I wouldn't have known about were it not for this film. I also liked the animation used to tell Mark's story. Sure, some of the dialogue wasn't great and the writing could have been better, but it didn't ruin the experience for me, or the rest of my life for that matter. Anyway, don't take my word for it or anyone else's, see for yourself because movies like this are rare nowadays.

Mark, after nearly being beaten to death, escapes into a fantasy world of dolls in a World War 2 setting he can control.

First off this is very slow and considered. The single goal of the story is to get Mark to attend a court date - that is it. But of course for him this is a herculean effort.

The characters are great, the action elements in the fantasy world are vivid and punchy and injects a bit of motion into a very sedate movie. Like "Sucker Punch" it gets a little bit repetitive as every problem Mark faces he retreats into his fantasy world.

Carell steps off the gas to give a heart felt performance, Leslie Mann does what she excels at: being desirable yet approachable. Merritt Wever holds it all together with an understated performance and she was my favourite character.

This isn't laugh-out-loud funny but it isn't as depressing as it might sound.

The only point I didn't like was that it framed Mark's attack as an encounter by strangers - which wasn't quite true. He was drinking with his attackers, otherwise they would know nothing about him. I felt like the writers were afraid an audience would lose sympathy for him if he knew his attackers in anyway. But I feel to the contrary: if some stranger attacks you just for being you there is little you can do about that - but if your actions put you into a situation that goes badly, then you are left wondering if it was somehow your fault, even if you are not to blame. Once I knew this I suddenly understood why the main character just couldn't move on and was stuck in a loop.

A very enjoyable, different film, a great watch but you will need patience and focus or this is going to feel long.