12 reviews
The central idea of the movie is very intriguing. Actually it does sound like a very good backbone for a novel (I have no idea what this was based on, but a book about this might be better then the movie). The central character is obviously "cursed" from the get-go. And still he manages to survive somehow.
But of course that wouldn't be enough. And while the story unravels (almost?) completely as you expect it to unravel, it still is a fine viewing experience. It's the actors that are doing a fine job and a script, that while not new and/or surprising it still delivers the goods as you would say. A fine thriller then
But of course that wouldn't be enough. And while the story unravels (almost?) completely as you expect it to unravel, it still is a fine viewing experience. It's the actors that are doing a fine job and a script, that while not new and/or surprising it still delivers the goods as you would say. A fine thriller then
Agnès Merlet's fourth feature film, a French, Irish and Swedish co-production titled "Hideaways", will be presented today in the Spotlight section of the Tribeca Film Festival in New York, which began yesterday. The director of "Son of the Shark" (nominated for a César for Best Debut Film in 1994), "Artemisia" (nominated for a Golden Globe for Best Foreign Language Film in 1998) and "Dorothy Mills" (50,000 spectators in France in 2008 and 350,000 worldwide in 2009) continues his original career with a new English-language romantic drama that mixes realism and supernatural elements.
James Furlong (Harry Treadaway) comes from a strange lineage. All of the men in her family exhibit special powers under certain circumstances. Your grandfather goes blind for about thirty-seven minutes whenever he thinks about sex. When your father gets scared, all the mechanical devices break down. And James' power, even before he was born, manifests itself in the death of his mother. Agnes Merlet's dark fairy tale begins under these magical and mesmerizing circumstances, complete with narration from Mae-West O'Mara, played by Rachel Hurd-Wood, a character we won't see for a good fifteen minutes. The power of death continues to grow in James; that is, killing everything around him - cows, grass, flowers, his grandmother, his father... all his classmates at reform school... And so, at the age of eight, James runs away to the forest, to lead a solitary life. Ten years later is where Mae finds him, having escaped from the cancer ward in what was once a reform school, now a hospital; huddled in a cabin, nestled in a forest of dead things.
As rich as this prologue is, "Hideaways" ends up being very simple most of the time. And that's where the film faces some narrative problems that downgrade it from something the audience could simply love, to a film with beautiful passages and some frustratingly monotonous sections. Rachel Hurd-Wood's narration as Mae-West O'Mara adds an additional layer of charm and mystery to the story, creating a dark and captivating fairy tale atmosphere. The initial promise of a world full of magic and supernatural powers is fascinating and leaves viewers eager to explore more of this unique universe. However, the film eventually focuses primarily on the relationship between James and Mae, losing some of the complexity and magic that was established at the beginning. The development of the characters, especially Mae's, is satisfactory, but the narrative seems to simplify as it progresses.
What works is Tim Fleming's stunning cinematography, which harmonizes so well with Eric Neveux's score, oh how the tears swell in your eyes with just the faintest hint of strings playing over a row of sun-bleached trees (and that's not corny, I tell you). Reminiscent of a fairytale painting, evoking expressionist cinema, in the end, the appearance is very naturalistic, aiming as much at penetrating within the character of a fern or a bush as at sculpting the human face; and this is never for show, no image is hollow. When the light hits Mae's eyes, it's as if you can see entire worlds being born and endlessly destroyed within them... hyperbole, hyperbole, hyperbole... this is a true feast for the eyes.
Rachel Hurd-Wood, cast in smaller, independent works since 2003's "Peter Pan" and "Perfume," is apparently (as these earlier films would suggest) a contemporary descendant of the women in Grimm and company's tales. The pathos of Snow White, Cinderella and Sleeping Beauty runs through her veins. Mae, suffering from her own hereditary family curse of cancer, is curious, kind, and very resilient. Hurd-Wood's chemistry with Treadaway is instant, the two are a joy to watch, and their romance is the heart of the film. While yes, the path he takes is expected, much of what happens is still captivating, except for the fact that their romance cannot fill the entire film, at least in its current form, and so there is a rather lazy attempt to bring in more conflict. In the form of an antagonist. Now, what Merlet and screenwriter Nick Murphy present fits with the rest of the story and is very interesting in idea, but somehow feels sloppy in execution, coming too late. The risks are definite and yet the tension feels forced. This, and a few other minor structural and narrative choices, detract from the film, not too much, but enough to color its waters with rust.
Given the superficiality of this predictable story, hope should have resided in the direction. However, unfortunately, Agnès Merlet makes unfortunate choices. The adorable young actor (James Wilson) who played James Furlong as a child is replaced by Harry Treadaway, whose acting skills - like most of the cast - are modest, to say the least. The settings - a hospital amidst vast vegetation and a devastated forest with artificial plasticity - end up becoming tiring due to their lack of variety and excessive use of color. However, the most disturbing aspect is the director's tendency to never transcend her story and to mark each turning point, however predictable, with heavy symbolism. It's surprising to see a filmmaker highlight her film's weaknesses so much. This is not about questioning the choice to place "Hideaways" in a romantic and symbolic context, but rather about denouncing the thickness of the direction, which becomes indigestible when with every touch, every kiss, every hug between lovers, we are forced watching a repetitive close-up of that plant blooming, or when she scans the scar on James' friend as he explains how he became disabled. At this point, it is no longer about symbols, but about repetitions, and, hampered by so many mistakes, the film ends up becoming simply embarrassing.
Faced with an introduction that does not shy away from spouting blood and multiplying tragedies, it is extremely disappointing that "Hideaways" allows itself to be carried away by the wave of sugary fantasy novels driven by "Twilight" and gives up much of the strength of its premise by insisting on take the transformative power of love to a literal level. With this, screenwriter Nick Vincent Murphy and Merlet waste an intriguing premise and a protagonist with devastating internal conflicts by betting on a foolish, abrupt and unconvincing romance that, as already mentioned, transforms love into a literal transformative power within the universe of film. Although admissible, the concept causes discomfort for a few reasons: gaps in the Furlong family's past are opened, and due to the poverty or scarcity of metaphors, the concept sounds arbitrary - and the most the script does in this sense is to try to bring the couple together through their suffering in common, that is, the subjection to harmful genetic inheritances, since not even the fact that one takes lives and the other is about to die is not well used by the film.
Other narrative choices also harm the film. The director tends to overemphasize symbolism, making it almost redundant. Instead of subtle symbols that enrich the story, it feels like we are being subjected to tiresome repetitions, which detracts from the viewer's experience. But despite these flaws, "Hideaways" is a remarkable film that deserves recognition. The stunning cinematography and the chemistry between the protagonists are highlights that cannot be ignored. Agnès Merlet shows her unique vision, although at times she seems overwhelmed by symbolism. Overall, this is a dark and poetic fairy tale that may captivate those looking for a love story with a supernatural twist, even if it has its narrative ups and downs.
James Furlong (Harry Treadaway) comes from a strange lineage. All of the men in her family exhibit special powers under certain circumstances. Your grandfather goes blind for about thirty-seven minutes whenever he thinks about sex. When your father gets scared, all the mechanical devices break down. And James' power, even before he was born, manifests itself in the death of his mother. Agnes Merlet's dark fairy tale begins under these magical and mesmerizing circumstances, complete with narration from Mae-West O'Mara, played by Rachel Hurd-Wood, a character we won't see for a good fifteen minutes. The power of death continues to grow in James; that is, killing everything around him - cows, grass, flowers, his grandmother, his father... all his classmates at reform school... And so, at the age of eight, James runs away to the forest, to lead a solitary life. Ten years later is where Mae finds him, having escaped from the cancer ward in what was once a reform school, now a hospital; huddled in a cabin, nestled in a forest of dead things.
As rich as this prologue is, "Hideaways" ends up being very simple most of the time. And that's where the film faces some narrative problems that downgrade it from something the audience could simply love, to a film with beautiful passages and some frustratingly monotonous sections. Rachel Hurd-Wood's narration as Mae-West O'Mara adds an additional layer of charm and mystery to the story, creating a dark and captivating fairy tale atmosphere. The initial promise of a world full of magic and supernatural powers is fascinating and leaves viewers eager to explore more of this unique universe. However, the film eventually focuses primarily on the relationship between James and Mae, losing some of the complexity and magic that was established at the beginning. The development of the characters, especially Mae's, is satisfactory, but the narrative seems to simplify as it progresses.
What works is Tim Fleming's stunning cinematography, which harmonizes so well with Eric Neveux's score, oh how the tears swell in your eyes with just the faintest hint of strings playing over a row of sun-bleached trees (and that's not corny, I tell you). Reminiscent of a fairytale painting, evoking expressionist cinema, in the end, the appearance is very naturalistic, aiming as much at penetrating within the character of a fern or a bush as at sculpting the human face; and this is never for show, no image is hollow. When the light hits Mae's eyes, it's as if you can see entire worlds being born and endlessly destroyed within them... hyperbole, hyperbole, hyperbole... this is a true feast for the eyes.
Rachel Hurd-Wood, cast in smaller, independent works since 2003's "Peter Pan" and "Perfume," is apparently (as these earlier films would suggest) a contemporary descendant of the women in Grimm and company's tales. The pathos of Snow White, Cinderella and Sleeping Beauty runs through her veins. Mae, suffering from her own hereditary family curse of cancer, is curious, kind, and very resilient. Hurd-Wood's chemistry with Treadaway is instant, the two are a joy to watch, and their romance is the heart of the film. While yes, the path he takes is expected, much of what happens is still captivating, except for the fact that their romance cannot fill the entire film, at least in its current form, and so there is a rather lazy attempt to bring in more conflict. In the form of an antagonist. Now, what Merlet and screenwriter Nick Murphy present fits with the rest of the story and is very interesting in idea, but somehow feels sloppy in execution, coming too late. The risks are definite and yet the tension feels forced. This, and a few other minor structural and narrative choices, detract from the film, not too much, but enough to color its waters with rust.
Given the superficiality of this predictable story, hope should have resided in the direction. However, unfortunately, Agnès Merlet makes unfortunate choices. The adorable young actor (James Wilson) who played James Furlong as a child is replaced by Harry Treadaway, whose acting skills - like most of the cast - are modest, to say the least. The settings - a hospital amidst vast vegetation and a devastated forest with artificial plasticity - end up becoming tiring due to their lack of variety and excessive use of color. However, the most disturbing aspect is the director's tendency to never transcend her story and to mark each turning point, however predictable, with heavy symbolism. It's surprising to see a filmmaker highlight her film's weaknesses so much. This is not about questioning the choice to place "Hideaways" in a romantic and symbolic context, but rather about denouncing the thickness of the direction, which becomes indigestible when with every touch, every kiss, every hug between lovers, we are forced watching a repetitive close-up of that plant blooming, or when she scans the scar on James' friend as he explains how he became disabled. At this point, it is no longer about symbols, but about repetitions, and, hampered by so many mistakes, the film ends up becoming simply embarrassing.
Faced with an introduction that does not shy away from spouting blood and multiplying tragedies, it is extremely disappointing that "Hideaways" allows itself to be carried away by the wave of sugary fantasy novels driven by "Twilight" and gives up much of the strength of its premise by insisting on take the transformative power of love to a literal level. With this, screenwriter Nick Vincent Murphy and Merlet waste an intriguing premise and a protagonist with devastating internal conflicts by betting on a foolish, abrupt and unconvincing romance that, as already mentioned, transforms love into a literal transformative power within the universe of film. Although admissible, the concept causes discomfort for a few reasons: gaps in the Furlong family's past are opened, and due to the poverty or scarcity of metaphors, the concept sounds arbitrary - and the most the script does in this sense is to try to bring the couple together through their suffering in common, that is, the subjection to harmful genetic inheritances, since not even the fact that one takes lives and the other is about to die is not well used by the film.
Other narrative choices also harm the film. The director tends to overemphasize symbolism, making it almost redundant. Instead of subtle symbols that enrich the story, it feels like we are being subjected to tiresome repetitions, which detracts from the viewer's experience. But despite these flaws, "Hideaways" is a remarkable film that deserves recognition. The stunning cinematography and the chemistry between the protagonists are highlights that cannot be ignored. Agnès Merlet shows her unique vision, although at times she seems overwhelmed by symbolism. Overall, this is a dark and poetic fairy tale that may captivate those looking for a love story with a supernatural twist, even if it has its narrative ups and downs.
- fernandoschiavi
- Sep 25, 2023
- Permalink
it is only word who can describe this film about death and hope. a strange cold fairy tale about a boy, his gift and the bridges with world. virtue of movie - the ball of feelings. the powerful impressions. the burned grass and the need of the other of a young man. nothing else. because all is only puzzle of gestures and search. a ladder and a form of escape like wet drawing. it is a beautiful film but not a comfortable one. web of questions and delicate nuances. and nice acting. a film about solitude and its corners. and, sure, about love. as a kind of parable. or only invitation for understand world more than a wall. but as way.
Hideaways - CATCH IT (B) Hideaways is a sweet little British movie about James Furlong, motherless, discovered an extraordinary gift to an accident causing the death of his father and his grandmother. Shocked by the mysterious power he has discovered, James is isolated in a forest to avoid hurting his family and decides to live there. A few years later, a girl named Mae, took refuge in the same forest because of an incurable disease which would have reached. The two young people meet and fall in love with each other. Their union allows James to discover a force hitherto unsuspected powers. (IMDB) Hideaways is a nice little movie which has good emotional approach to its character. It's a genetic disorder or the family men are jinx no one knows but somehow the story works. The movie is shot in beautiful isolated forest in England. The best part is defiantly the innocence and chemistry of Harry Treadaway and Rachel Hurd-Wood. They both make this movie emotional and beautiful. Even though I wished the ending to be different but that's all right. Still it's a lovely little movie and a good time pass. Watch it!
Saw this tonight at Tribeca. The "love conquers all" message is certainly worthy, but this just isn't a very well told story. The scripts contains few surprises (no point even bothering to spoil the plot here - you'll soon guess where the story is heading), and the directing is flat. The film's point of view is a big problem. The director doesn't seem to be sure if it's Mae-West's or James's story, so in the end it's hard to care for either. The overblown score tries too hard to fill in the emotions that the script doesn't provide. Some nice effects work in places though. I can't imagine this will be a huge hit, but if you see it coming to your local cinema best look for other options.
- dougsteadman2005
- Apr 20, 2011
- Permalink
Pay no attention to the sadly low ratings given to this very fine romantic tale. Of course the plot demands full artistic license but that is the essence of a fairy story and the stretched imagination needed to accept the setting comes easily enough.
James Furlong is born into an Irish family with very strange powers. His grandfather became blind for 37 minutes each time he thought of sex whilst his father caused complete electrical failure all around him each time he became frightened. James simply caused everything to die around him whenever he was attacked or given a blow. Naturally this had unpleasant effects on those unfortunate enough to argue with him or even be near those fighting with him. Accordingly he runs into the forest and lives the life of a hermit. Until that is a beautiful young girl happens upon his forest shack and a love story begins.
The photography is nothing short of splendid and there are some fine performances from all the youngsters involved - in particular James Wilson who plays the younger James. I hope we see more of him. Perhaps my greatest criticism would be that Thomas Brodie-Sangster who is given significant billing in the production appears in very few scenes and has barely three minutes of screen time. His character, a young lad bent on revenge against the hero, was indeed interesting and could have been developed much more. What a pity the producers gave so much time to romantic love scenes and so little to the jealousy that love often brings about on those rejected.
James Furlong is born into an Irish family with very strange powers. His grandfather became blind for 37 minutes each time he thought of sex whilst his father caused complete electrical failure all around him each time he became frightened. James simply caused everything to die around him whenever he was attacked or given a blow. Naturally this had unpleasant effects on those unfortunate enough to argue with him or even be near those fighting with him. Accordingly he runs into the forest and lives the life of a hermit. Until that is a beautiful young girl happens upon his forest shack and a love story begins.
The photography is nothing short of splendid and there are some fine performances from all the youngsters involved - in particular James Wilson who plays the younger James. I hope we see more of him. Perhaps my greatest criticism would be that Thomas Brodie-Sangster who is given significant billing in the production appears in very few scenes and has barely three minutes of screen time. His character, a young lad bent on revenge against the hero, was indeed interesting and could have been developed much more. What a pity the producers gave so much time to romantic love scenes and so little to the jealousy that love often brings about on those rejected.
- RichardvonLust
- May 13, 2013
- Permalink
Just saw this during the Tribeca film festival and found it great. I enjoyed the poetry, the incredibly strong pictures and the really original plot. Some of you may not agree but I have been hooked by this movie from the first to the last minute and what should I say about the actors that are beautifully playing and magnificently directed. This movie is full of emotions and the love story is very well treated, showing a real, pure love which is not going pathetic as it is in many movies today. Hope this movie is going to be seen by many of you and bought in the US to become a hit, not even in comparison to some other hits, this film deserves it.
In my humble opinion , this is an excellent film . I enjoyed the story and I also enjoyed the performance of the main actors . It is a shame that the ending is not as happy as I hoped it would be . The scene where the film was made is perfect for the story unfolds . I think the main idea of the film is to convey the message that the true and pure love can even turn a terrible curse into a blessing that brings back to life even the worst of people doomed to certain death . The story unfolds in a clear sequence and not to let the movie become dull over time. Each piece was well designed and adjusted so that no relevant information missing for the perfect understanding of the script . As I said , I really liked this movie. The only downside I saw was the fact that Mae insist on smoking . This was a bad example that I think should not have been part of the history of a film so well done . Well worth watching !
- paulo-oliva09
- Dec 31, 2013
- Permalink
A very odd film indeed. It starts with some very funny dark gags that are laugh out loud brilliantly daft. It then abruptly turns rather dark and leads you down a path that the first ten minutes did not prepare you for. Subsequently you're not sure how to react for the next hour, is it a dark fable, comedic fantasy or just a basic love story overcoming intense obstacles of life? Thankfully the third act goes where you expect but still with the edge.
What is though is well acted as you're expect from the cast, they've all gone on to do Hollywood budget movies or TV and you can see why.