Showing posts with label Sidney Lumet. Show all posts
Showing posts with label Sidney Lumet. Show all posts

Saturday, February 23, 2013

Review of the Week: Beautiful Creatures

0 comments Posted by Katina at 8:00 PM

Realised that I left for my New Zealand trip a year ago today. Oh how time flies. And not much changes. Again I'm on the road, having driven to Newcastle Airport for a Brisbane getaway. Excitement!

Anyway, your reviews for the week. Enjoy :)

Beautiful Creatures (M)
SUPERNATURAL romance appears to be far from gone in cinema, and as much as some may fight it new takers for the next blockbuster fantasy franchise are knocking at the door. It’s now not something even the best of Hollywood actors are taking lightly.

Jeremy Irons and Emma Thompson have come on board in what was largely marketed as an off-beat spin on a crazy teenage world. Instead you have something a little more serious, not trying to be like the Twilight storm but an accepting calm after it. Like a lot of teen-friendly stories, this film has a lot of moralising good.
Alice Englert, daughter of acclaimed New Zealand director Jane Campion, is 15-year-old Lena, who comes to the fictional hicksville of Gatlin, South Carolina. She is a teenager - who actually looks like a teenager - and falls for the charming-just-because-he-is Ethan (Alden Ehrenreich).
The likable central characters are interesting to watch as they quickly develop a relationship and Ethan finds out Lena’s secret (bet you didn’t see that one coming). She is a Caster (a nicer word for witch), but will turn to the light or dark on her 16th birthday depending on her true nature.
 
This story draws back on American history with plot links to the Civil War and witch accusations from earlier times in the south. It draws from themes of fear and uncertainty, and uses a small community convinced of their devotion to God in drawing attention to extreme views some of their people possess.
A key motif throughout the film is that a fear of the unknown will get you nowhere. Ethan’s a clued-up kid; life seems all mapped out for him, but he refuses to believe he’ll be another generic stereotype. He believes his town is full of people either “too stupid to leave or too stuck to move”, an idea that will either leave you in complete agreeance or be seen as an unfair hit to small towns all round.
There’s a lot of family drama in this story much like others in the genre. Ethan has an unstable father after the death of his mother; a character frequently mentioned but not seen. Lena’s uncle Mason (Irons) also has problems when his niece Ridley (Emmy Rossum) rolls into town. A bit of dysfunctionality goes a long way in making the story trod along.
Richard LaGravenese directed his adapted screenplay of the base novel and takes care not to over-exaggerate fantastical scenes. The strong Southern accents from his cast manage that on their own but allow an appreciation for something from the average fare, as well as a cast of characters that aren’t all just beautiful faces.

The teen romance may be just as big a factor in this supernatural story as any other but it fares well for keeping serious while avoiding over-soppiness. Two unknowns as the leading duo leads us not into temptation to stalk their every move as celebrity gossip, but delivers us from that evil.
Rating: 3/5

*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) from Saturday 23/2/2013

***
Dog Day Afternoon (1975)

AL Pacino’s involvement in the film adaptation of a real-life robbery was slow to emerge after his exhaustion from The Godfather: Part II made him initially decline the role of Sonny Wortzik. But on finally accepting, Sidney Lumet had his man and went about bringing the story of John Wojtowicz to life.
People do stupid things for all kinds of reasons. And some do those things without thinking them through. Sonny and his accomplice Sal (John Cazale) think they’re on the ball when they go without masks into a bank attempting to take everything it’s got. Their plan soon becomes unravelled when they realise their research was a failure and Sonny proceeds to think about what to do.
Sonny’s insecurities are the centrepiece of the story as he refuses to leave and turns the scenario into a hostage situation. At first he thinks he’s running the show, and when half of Brooklyn comes out in support of what they presume to be a general protest on society, he’s having a great time. But society’s pressures are revealed when Leon (Chris Sarandon) comes into the story, Sonny’s male lover whose sex-change operation is the reason behind the day’s events.
With many scenes of Frank Pierson’s Oscar-winning script wonderfully improvised (something Lumet rarely heeded), it’s a fantastic performance from Pacino. Lumet handles the tension with fervour, leaving the situation detached while making the audience still wonder at the story’s characters and their reasoning. The media circus the story creates is not so much a surprise, but how that ties in is also notable.
*Published in the Mailbox Shopper (Dubbo) on Wednesday 20/2/2013.

MISSED LAST WEEK'S REVIEW? See what I thought of Safe Haven.

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Saturday, February 09, 2013

Review of the Week: Lincoln

0 comments Posted by Katina at 8:00 PM

Lincoln (M)

ABRAHAM Lincoln is the president of the moment, this the second film of the season following Abraham Lincoln: Vampire Hunter. He is a revered man in his homeland, something audiences appreciate. But of all the depictions of him, in film and otherwise, this one has been most looked forward to by critics, fans and those voting on the golden statues.
Twelve years of research into the days preluding the United States vote to abolish slavery would feel well worth it to Steven Spielberg. His love of history is shown on film in the most extravagant of ways, often leaving nothing behind. While criticism comes form those pointing out minor historical inaccuracies, many were altered in the name of artistic licence.

Abraham Lincoln himself is most comforting. The 16th President of the United States (Daniel Day-Lewis) has been voted in to his second term as leader during a Civil War four years in. The sentiment is that the battle is nearing its end, and his cabinet plead for peace negotiations, particularly Secretary of State William H Seward (David Strathairn).

History tells us that Lincoln was a man sure of what he wanted even if he took the slower path to get it. Patience was a virtue for this president, sure that the 13th Amendment to abolish slavery from their constitution would pass. Work had to be done to get there though; Lincoln faced multiple challenges.


The story follows the bid to get both the Radical Republican votes and Democrat votes from politicians who had lost their seats badly. Monetary bribes were shunted in favour of job offers, Lincoln reluctant to get his hands too dirty.
Complications in the office, which also include the option of a peace negotiation initiated by the influential Preston Blair (Hal Holbrook), play havoc with Lincoln’s private life. His wife Molly (Sally Field) is by his side but echoes the frustration of the people with the drawn-out fighting. It comes to the fore as eldest son Robert (Joseph Gordon-Levitt) returns home defiantly planning to join the Union Army.
Spielberg lets the cameras roll slowly over two-and-a-half hours to give us every detail, amplifying the demeanour of the great man. His knowledge of the law, entertaining (if not relevant) stories and devotion to young son Tad (Gulliver McGrath) are all utilised. There’s no blood, and barely a physical battle in sight. The real battle here is of Lincoln’s emotions.
Day-Lewis is outstanding, able to project conflict of the mind convincingly. But Spielberg gets the best from a wonderful ensemble that has taken to the project easily. Tommy Lee Jones is a particular standout as Radical Republican Congressional leader Thaddeus Stevens.
For many, this will be seen as a film of historical importance. For those who don’t know Lincoln’s influence on the United States, this is the sort of film that will inspire you to find out more. Spielberg usually has that effect on people with his work.

Rating: 4/5
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) from Saturday 9/2/2013

***
Network (1976)
 
THE CUTTHROAT world of television journalism hasn’t changed much from what it was to now. Even in a world of immediacy with the likes of the internet, it’s always been about the revenue. American news networks are in a constant battle for their wide-reaching audience and are often depicted as ruthless in their efforts.
 
When the (fictional) Union Broadcasting System is lagging behind other major news outlets, long-time presenter Howard Beale (Peter Finch) is given the cut. His on-air farewell is a surprise to the network as the usually dignified man breaks down.
 
His downward spiral is recognised by producer Diana Christensen (Faye Dunaway), and the network in turn exploits his preaching rants about the media industry to stellar ratings. Meanwhile, her plan to introduce terrorism to serial television also has bigwig Frank Hackett (Robert Duvall) in a spin.
 
Sidney Lumet captures something that remains extremely relevant in the uncertainty of the industry. But it’s Finch as the deranged Howard that is most chilling, as he becomes a former shadow of himself. Watching his exploitation is not only uncomfortable but speaks enormously of a thing we call ‘reality’, a precursor for viewing habits around the world.

*Published in the Mailbox Shopper (Dubbo) on Wednesday 6/2/2013.

MISSED LAST WEEK'S REVIEWS? See what I thought of Silver Linings Playbook and Chinatown.

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Saturday, July 07, 2012

Review of the Week: The Amazing Spider-Man 3D

0 comments Posted by Katina at 8:00 PM

Your bonus this week is Al Pacino cop classic Serpico (1973). A New York love affair in the week of Independence Day for the stars and stripes...

The Amazing Spider-Man 3D (M)

WHEN the news came out in 2010 that Sam Raimi had decided not to continue with the Spider-Man franchise after his third venture was released in 2007, it was thought to have spelt doom. Tobey Maguire and Kirsten Dunst had long said if Raimi was out, so were they, and they stayed true to their word. But Sony Pictures had other ideas, taking Raimi’s idea of developing the alter ego of scientist Dr Curt Connors, and rebooting the story to when Peter Parker was first exposed to the super spiders.

Their major focus would seem to be taking it back to essentially forget the trilogy that made up the bulk of Marvel’s top-grossing films. Peter (Andrew Garfield) is a nerdy teenager in love with Gwen Stacy (Emma Stone), living with Uncle Ben (Martin Sheen) and Aunt May (Sally Field) after his parents mysteriously left them in his care as a kid. From there it changes as Peter finds himself looking for answers to his father’s past, finding Dr Connors (Rhys Ifans) and the theories of cross-species genetics. Enter spider bite.

There’s a lot to like with the new elements of the story, particularly seeing more of Peter as a teenager. If only in that respect, it feels like a prequel as he bumbles through his days, unsure of himself when talking to Gwen or trying to stand up to Flash Thompson (Chris Zylka). His hunger to discover why his father was so secretive leads him to a hidden formula that could unlock the key to genetic regrowth. Now that’s heavy stuff for a senior.

But Peter Parker’s life has always been that - constant heaviness on his shoulders as he burdens the guilt of Uncle Ben’s death as well as the responsibility he’s been given with his newfound abilities. This time around it’s Gwen he confides in, and their relationship, although awkward at first like that of many teenagers, grows within the story’s short timespan.






The Lizard, Dr Connors’ alter ego, is a creature just as hurt as any other lost, desperate soul. He’s not really evil, he just believes in creating a perfect world. But the mutation gets the better of him and it all falls on Spidey to fix what he contributed to breaking. It’s all a bit unfortunate really, and there’s never a definitive answer for Peter on where his parents went.

As the first Spider-Man film in 3D, the effect serves it well, director Marc Webb (500 Days of Summer) making sure Peter’s sticky stuff is particularly shown off to effect. Garfield, with expectation burdening on his own shoulders, plays Peter/Spider-Man as naïve as he should be, a teenager coming to grips with what’s out in the big bad world. Even Maguire purists should appreciate his interpretation; Garfield’s more youthful looks are a benefit to this story of Spider-Man’s origin.

Stone is a Gwen just as unsure about life and boys as any other teenage girl, and works well with Garfield and Denis Leary, her stern father Captain Stacy. With a big A-list cast, it all falls together nicely. It’s only the story itself that will unsettle most previous fans.

James Vanderbilt’s story would be more than agreeable had there not already been a film that already addresses half this story’s content. The concept of this reboot is more confusing than anything else because this film won’t stand as a straight prequel - but the idea of starting a new franchise and dismissing three of Marvel’s best productions is incomprehensible to the majority of moviegoers. Although some of the 136 minutes are stretched out, there’s no doubt the film works as a stand-alone. But where this new franchise leads when some of the hero’s biggest nemeses have already been explored is uncertain.

Rating: 4/5

*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) from Saturday 7/6/2012


***

Serpico (1973)

Sidney Lumet directed Al Pacino twice before his death in 2011, the first of those Serpico, a true story about an honest cop who couldn’t stand to see the corruption in the New York Police Force continue. The film came out after Pacino had made his name in The Godfather and the streets of New York were becoming a big Hollywood focus.


Based on the biography by Peter Maas, Frank Serpico (Pacino) enters the police force and immediately makes an impact in his division. But his desire to become a detective becomes thwarted as he continues to be kept patrolling the streets undercover, creating a lonesome, unapproachable persona that only alienates him from his colleagues further when he refuses to accept their payouts from local thugs.

With producer Dino De Laurentiis and composer Mikis Theodorakis’ heavy score it’s a very Mediterranean affair. Serpico has the temperament of an Italian but the grooming abilities of someone much different, embracing his inner hippie as he goes through lovers and people he discovers cannot be trusted. It’s essentially a one-man show from Pacino that takes you through his rapidly deteriorating emotional state.

The film creeps along for its 130 minutes, increasing the suspense on whether the exposure Serpico seeks on the corruption will ever come to the fore. Lumet gets Pacino at his best, and you feel the frustration of the honest guy. It’s a gritty turn from Lumet, so good with hitting the hard line, and no doubt set the boulder rolling for future productions of a similar nature.

*Published in the Mailbox Shopper (Dubbo) from Wednesday 4/7/2012

 
MISSED LAST WEEK'S REVIEWS? See what I thought of Ice Age 4: Continental Drift and The Ladykillers.

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