Showing posts with label film. Show all posts
Showing posts with label film. Show all posts
Tuesday, September 23, 2014
Sin City: A Dame To Kill For (MA 15+)
A SEQUEL that arrives nearly 10 years
after the original is not generally one expecting high anticipation.
The decision to continue a story in modern Hollywood is largely
driven by financial risk and whether there is material at the ready
to adapt.
In the case of the Sin City graphic
novels, there's enough material to make a good six or seven films.
Frank Miller's dark dystopian world is a brutal look at the violence
within human nature and our desires to exploit it while wanting to
maintain control of our animalistic instincts.
The first, based on three of the
novels, was stylised onto the screen from the books almost seamlessly
using technology barely experimented with before. It was confronting
in its violence, but faithful to the original story.
The second of those follows suit with
the same stylisation that makes this material stand out from others
of the like. Based primarily on A Dame To Kill For, it has a
more narrow focus on characters and storylines than its predecessor.
It comes as no surprise that in
developing the script and devising new material for this film, Miller
and director Robert Rodriguez made a conscious effort to evolve
Nancy's character for Jessica Alba. Her reprise is in one of two
storylines devised specifically to sit alongside the titular events,
where she is still seeking revenge on Senator Roark (Powers Boothe)
for Hartigan's (Bruce Willis) death, having turned into an unstable
drunk.
Another chasing Roark is Johnny (Joseph
Gordon-Levitt), a winner who doesn't know when to stay humble. Not
far away is Dwight (Josh Brolin), who is bewitched by former lover
Ava (Eva Green) when she walks back into his life with plans of her
own.
Manipulative would best describe the
bulk of this offering, with deception also playing an important role.
The dog-eat-dog world doesn't let anyone or anything stand in its
way, and forever at the centre of this is Marv (Mickey Rourke). His
presence throughout most of the intertwining plots is threatening,
looking for trouble and easily finding it.
Rourke brings a solid performance, as
do Alba, Willis and Boothe in their reprised roles. Gordon-Levitt
places himself nicely into the fold, managing to face more than one
sticky situation. As for the dame, Eva Green's Ava is a dramatic
bitch – frustrating in the right ways as no one can see what she
manages to pull off thanks to her charm.
The cast and visual style remain solid,
but the story lacks the violent impact this city's characters gave us
nine years ago. Spilt blood is still very much there but it's more
talky than its predecessor, in turn reducing the strength of the
violence. But while a nine-year wait has been excessive for fans of
the novels and first film, there's still enough to like.
Rating: 3/5
To be published in the Darwin Sun on Wednesday 24/9/2014.
MISSED LAST WEEK'S REVIEW? See what I thought of The Maze Runner.
MISSED LAST WEEK'S REVIEW? See what I thought of The Maze Runner.
Wednesday, September 17, 2014
This was meant to be published on here last week...
Into The Storm (M)
NATURAL phenomena have intriguingly,
but to devastating effect, become more commonplace in recent years
than anyone could have anticipated. This film, which tries to portray
the effects of such happenings on small-town America, acknowledges
that directly. Thousands of lives and homes have been lost by
nature's force when Mother Nature has chosen not to be so kind.
A path of destruction no one can stop
is a terrifying notion, and topical in cinema with the likes of The
Impossible most recently portraying natural disasters. Twister
will come to mind for many as tornadoes form the focal point of this
outing from director Steven Quale.
Storm chaser/documentary maker Pete
(Matt Walsh) and meteorologist Allison (Sarah Wayne Callies) find
themselves in Silverton, a town unaware of the harm to soon hit it.
Their group is at a crossroads, unable to agree with deciding where
to go in finding the next twister. Brothers Donnie (Max Deacon) and
Trey (Nathan Kress) are among the local high school's students
filming a time capsule for a school project. With this and the storm
chasers documenting their travels, found-footage style-filming is
used throughout the 89-minute run time.
The disaster was always going to be the
star of the film when the plot included a mega-twister with speeds of
300 miles per hour. But it is let down by some of the special effects
we come to expect as nothing short of perfect. It falls in line with
a cheesy script by John Swetnam, which is fine to some degree if you
go in expecting as much. Characters are largely not given time to
develop with the story at hand, Richard Armitage particularly having
a difficult time exploring Gary. Performances by all are fine,
Armitage included, but not serviced by who they portray.
There are hints at potential sub-plots,
while an actual inclusion centring on two drunks who try to make a
hit YouTube clip lands firmly in the *shake
my head* file. It shows a concerted effort to mix a number of
genres to appeal to the action fan, crass comedy appreciator and
general suspense anticipator, but doesn't manage to come off.
Quale, whose only other feature
directing credit is Final Destination 5, has not completely
fluffed his take on the disaster genre though. Hollywood has not had
a film of this sort – without heavier undertones – in some time,
and audiences will appreciate it on its spectacle alone. Without
expectation of serious heroism and cheesy acceptances about family
and love, it's a terse look at how disaster strikes.
Rating: 2.5/5
Published in the Darwin Sun on Wednesday 10/9/2014.
MISSED THIS WEEK'S REVIEW? See what I thought of The Maze Runner.
MISSED THIS WEEK'S REVIEW? See what I thought of The Maze Runner.
Tuesday, September 16, 2014
I feel I need to express what I can of my sadness at the announcement Margaret and David will be no more after this year. At The Movies has been an institution for longer than I've been alive, something many (including myself) have at some point taken for granted.
Margaret Pomeranz and David Stratton are two of the reasons I would love to be recognised within the film industry as a critic. Their incredible depth of knowledge of film, their brutal honesty and genuine love for the art form give Australians worthy reason to respect them so highly, in much the same way Americans did for the late Roger Ebert. It's something for anyone who writes about film to aspire to.
I guess it's fitting that I forgot to put my review of the week up yesterday (or last week for that matter, which I will put up shortly). Here's what I thought of this week's new release.
The Maze Runner (M)
AS puzzles that manage to both work the
mind and body, mazes are a healthy challenge to some. But in truth,
they are a nightmare to most as claustrophobia sets in – where then
the only mind game at play revolves around personal sanity. There are
mazes in all our lives, but none quite on the scale of what this
group finds themselves faced with. It is their only way out from an
artificial world made for them by an unknown force.
Thomas (Dylan O'Brien) is the newest of
the all-male group to arrive to the Glade, and his curious mind goes
straight to exploring new escape plans. His actions are reckless but
brave, inspiring the group to consider rocking the boat of authority.
Enter token female Teresa (TV's Skins' Kaya Scodelario with a
wavering American accent), who has a connection with Thomas no one
can piece together. As things begin to change more questions emerge
than answers, and it's a fight to keep everyone working for the same
team.
It's Survivor meets The
Hunger Games as this post-apocalyptic story blends the struggle
for survival with villains that are aren't as obvious as what meets
the eye. Survival of the fittest stories have become all the rage
since The Hunger Games exploded into cinemas, and this
adventure fits right in there with targeting the young adult market.
It's an adrenaline rush with action and drama befitting the story.
Author James Dashner, who released the
first novel of his Maze Runner trilogy in 2007, was not involved in
writing the screenplay. That fell to Noah Oppelheim, Grant Pierce
Myers and TS Nowlin, who provide a script that gives room for the
main players to grow. The film retains a serious overtone that
doesn't give way to love or friendship dramas. It keeps the focus
squarely on kids beating the physical and mental monsters that stand
in their way.
In his first feature film, director Wes
Ball leaves things unexplained to good effect about the characters'
past lives and who subjected them to their fate. Set up for a sequel
(already slated for release next year), this tale does manage to
finish on a tidy note, concluding with anticipation for what's in
store for the group.
O'Brien and Scodelario are not quite
the leading pair you would expect, O'Brien given much of the film to
hold it all together. But with a good young cast, also including Will
Poulter (We're The Millers) and Thomas Brodie-Sangster (Love
Actually), the film will give young adults a story of wicked
proportions. Its intensity also serves other watchers, who will
appreciate the characters' mental fight.
Rating: 3.5/5
To be published in the Darwin Sun on Wednesday 17/9/2014.
MISSED THE LAST REVIEW? See what I thought of Magic In The Moonlight.
MISSED THE LAST REVIEW? See what I thought of Magic In The Moonlight.
Monday, September 01, 2014
Magic In The Moonlight (PG)
THE MAGIC and mystique behind love and
how humans come to have such feeling has been long explored by Woody
Allen. While his films range dramatically in the form his central
characters take, his creations predominantly deal with the mishaps
and other dramas love brings to their lives. For his latest offering
we're taken back to the 1920s, a time when the world was becoming
that little bit more liberated. With that came more public shows of
affection from those embracing the social change - but marriages of
convenience over pure emotion were still just as acceptable.
Stanley (Colin Firth) is a man of
convenience and righteousness, refusing to look past his
narrow-minded views on the world. His success in life acting as
magician from the Orient Wei Ling Foo and engagement to Olivia
(Catherine McCormack) lend to his views being perfectly rational. A
trip to southern France at the insistence of long-time friend Howard
(Simon McBurney) quickly threatens to shake up Stanley's entire
existence. As the master of trickery he heartily accepts a challenge
to debunk spirit medium Sophie (Emma Stone), who is seen to be
fooling the Catledge family.
Defining what is real and what is not
is harder for Stanley than meets the eye, Allen giving both he and
Sophie layers to masking their identities. Uncertainty is paramount,
delivered with more than enough of the snappy wit so familiar within
Allen's work. Firth and Stone, both newcomers to Allen's ways, create
an intriguing love/hate central relationship. This is despite the
fact Stanley is such an unlikable man - his pessimism is obnoxious to
the point of exhaustion. Firth is great at it, but the character
presents as overwritten even with the inevitable twist. Stone on the
other hand, is a delight.
It's a flamboyant film, using a simple
idea and amplifying it with extravagance to emphasise a point. On
what will depend on how you view the world - the pessimists' ability
to prove their views are logical, or the optimist's ability to crack
the pessimism and reveal there's more to life. Which in essence fits
in with typical Allen themes – characters' boredom with life,
anxiety and uncertainty about relationships. His films much of the
time become a moral compass, asking you to reassess where your views
on life sit, and this is no exception.
Allen assembles a great cast, which
also includes Marcia Gay Harden, Jacki Weaver and Eileen Atkins. He
also creates a whimsical setting with a southern France backdrop,
further creating a dreamy world amidst the almost-sinister intentions
at play. While entertaining, it will not rank among Allen's best. For
those unconcerned, it remains a fun piece of snappy comedy with
style.
Rating: 3/5
To be published in the Darwin Sun on Wednesday 3/9/2014.
MISSED LAST WEEK'S REVIEW? See what I thought of The Inbetweeners 2.
MISSED LAST WEEK'S REVIEW? See what I thought of The Inbetweeners 2.
Monday, August 18, 2014
I've been blessed with a few weekends of advance screenings, although I believe my luck ends with this film. I've learnt that any Darwin film critic who exists is not held in very high regard, and as such is not able to access the same things their capital city counterparts can. But that's a whole other story...
Begin Again (M)
THE MAGIC formula to writing a good
song is non-existent. It is a myth perpetuated by the likes of Stock,
Aitken and Waterman and the Beatles, making us believe the magic can
be procured by anyone. But it's not so; anyone lucky enough to
possess that talent has creative strengths unique in this world.
As great as songwriting can be, no one
can escape the dominant influences of love and heartbreak. Those
emotions in many ways can define a person, or at least their story -
something Gretta (Keira Knightley) knows all too well. She gives up
on New York City after singer boyfriend Dave (Adam Levine) strays as
his star begins to rise.
Her saviour comes in the form of a
hotshot-turned-hobo, record label owner Dan (Mark Ruffalo). He's
lived the high life, creating success from nothing, and then seen
everything go downhill both professionally and personally. He is
distant from daughter Violet (Hailee Steinfeld) and still in love
with his ex-wife Miriam (Catherine Keener).
Gretta and Dan's collaboration is the
stuff dreams are made of. A little girl lost is discovered and has
the chance of making it big. But the twist in this tale is Gretta's
steadfast approach to the industry. She's not interested in a deal
for herself, and initially rejects Dan's ideas for spreading her
music to the masses. She's a songwriter, not a singer.
Knightley makes her musical debut to
good accord, singing a number of songs with an air of delicacy. The
songs, written by a specialist team, touch on love and heartbreak
with genuine feeling and give the film a pleasant soundtrack. Levine
gets his turn in the spotlight also, but it's Knightley who shines.
Adam Carney has revisited a past idea
with this story, after directing and writing Irish love musical Once
back in 2006. A Hollywood spin on it by way of zooming in on that
heartbreak works as the catalyst for Gretta's decision to stick
around. The songs reflect that, and are tied in well with the story
to bring relevance.
The story pays homage to the so-called
mess of a place that is New York City, as so many others do.
Recording Gretta's songs take on added meaning when done in locations
across the city, taking in the locals, the busker vibe in tribute to
others trying to make it big, and the diversity it has to offer.
Knightley and Ruffalo are an unlikely
pair, but work well together on screen as a pair trying to reignite
the spark in life by starting over. Moving forward and leaving their
past behind brings them more challenges than expected, but common
ground helps them get there. Levine is a good guy to hate, Dave
having the qualities of an unlikeable idiot both during and after his
relationship with Gretta.
The film does not overextend itself in
trying to evoke emotion, giving us enough with the simplicity of
Gretta and Dan's stories. With likeable characters and great
soundtrack, Carney gives us a story that suggests the process of
revisiting the good things in life can be an invigorating experience
if you let it.
Rating: 3.5/5
To be published in the Darwin Sun on Wednesday 20/8/2014.
MISSED LAST WEEK'S REVIEW? See what I thought of The Hundred-Foot Journey.
MISSED LAST WEEK'S REVIEW? See what I thought of The Hundred-Foot Journey.
Tuesday, August 12, 2014
The Hundred-Foot Journey (PG)
THE WAY to many people's hearts is through the stomach, with a well-prepared meal bringing meaning and satisfaction. It is a survival instinct at its most basic, providing comfort and even a sense of understanding. It's no wonder that Lasse Hallstrom has returned to a theme he became well known for 14 years ago with the release of Chocolat, which combined a story of small town charm and the sensuality of blossoming romance.
Those three elements are echoed in The Hundred-Foot Journey. Hallstrom returns to countryside France, where the grass is beautiful and the buildings are rustic. It's no wonder Papa (Om Puri), Hassan (Manish Dayal) and the rest of the Kadam family want to stick around when the brakes on their car fail and force a delay to their travels.
Lessons about taking a chance and stepping up to a challenge present themselves pretty early as we learn about the tragic circumstances that led to the family leaving their Indian homeland for the pastures of Europe. As they arrive at their new-found home, social and moral themes of acceptance into a society and acceptance for change make their presence known.
It's not new territory for Hallstrom by any means as he lets natural light and the surrounding landscape to do much of the talking. But there is a story in there somewhere, telling us of Hassan's dream for success as a professional chef and his interest in town local Marguerite (Charlotte Le Bon).
There is a typical rivalry to make their transition to French life difficult, as they set a family restaurant up across from a Michelin Star-awarded restaurant run by Madame Mallory (Helen Mirren). Their rivalry brings a not-so-fun war about, although made comical for the audience's benefit. Marguerite and Madame Mallory make for two headstrong women – but their desire for change is minimal. In a role reversal to films of this sort, it is the men who are looking to bring something new to the community and present new gastronomical adventures.
Hallstrom's focus on food throughout the story is sumptuous as Hassan learns the tricks of the trade from his family, but later becomes bland as he steps away from the type of cooking he knows and loves. It changes as the story does, which traverses an extended period of Hassan's career. Things are left to get a bit tiresome ahead of the ending, the mood of the film becoming a dampener as you watch their lives unfold some more. It's not helped by an unnecessarily long running time.
While designed to pull at the heartstrings, the laughs are minimal. Although there is something to be said for the efforts of Puri, Mirren and the charismatic Dayal, there isn't enough to lift the story to anything more than a simple tale of accepting what life brings. As that's something audiences already know well about, the well-used themes of this story come with a less fresh perspective.
Rating: 2.5/5
MISSED LAST WEEK'S REVIEW? See what I thought of Guardians of the Galaxy.
Tuesday, August 05, 2014
When I wrote my review for Charlie's Country last week I ended up expanding on it as I thought I might, looking at it in a bit more depth in the form of an essay.
And with that I'm back on the Movie Mezzanine bandwagon!
It's been a while since I've been able to write for the site, but now being back from my holiday I'm really keen to get stuck into writing some great film articles on a regular basis.
For now, take a look at this if you'd like an idea of how Rolf de Heer's look at the life of an indigenous man relates to what's going on in Australia right now.
.@katiinkaa write on CHARLIE'S COUNTRY and the complex racial dynamics of Australia: http://t.co/S9lxX5UtMP pic.twitter.com/6cerjeDthV
— Movie Mezzanine (@MovieMezzanine) August 4, 2014
Monday, August 04, 2014
A change to when I see films means I'm moving Review of the Week to Monday nights. Reviews will be published on here before what I'm actually writing them for, but I'm not going to make you hold out until nearly a week after their release if it's not an advance screening.
This week, I would really like to know what people think of the film. I'm torn as to whether Guardians of the Galaxy was worth including in the Marvel Cinematic Universe franchise...
Guardians of the Galaxy (M)
MISFITS in this world get along by
mixing with others of the same sentiment, those who for one reason or
another fail to fit into the general norms of society. It's a
foundation of the superhero genre, and a fact that Marvel Comics has
jumped on to make its billions.
It's no surprise then that the Marvel
Cinematic Universe has been expanded past the Avengers' group and
individual tales. For some the inclusion of the Guardians of the
Galaxy comes as a surprise, but others will know the odd group fits
well within the Marvel sphere of weird.
And weird this group is. Peter Quill
(Chris Pratt), taken from Earth as a kid in 1988, is an outlaw raised
by crooks. Gamora (Zoe Saldana) is turning her back on family for the
greater good of the universe because they are an evil bunch, while
Drax (Dave Bautista) is a surprisingly intelligent brute wanting
revenge for his family's death.
Then there's comical duo Groot (Vin
Diesel) and Rocket (Bradley Cooper). A tree with limited speech and a
mutant racoon make for an unlikely pair but one that brings the
laughs in this story of acceptance and friendship.
The Avengers these guys ain't. While
they too are a bunch of misfits brought together under circumstance,
the Guardians of the Galaxy are a more friendly bunch towards each
other. Their camaraderie is more genuine by the story's end, where
one's ego doesn't overtake the others and individual interests aren't
the most important.
Director James Gunn wants to make us
believe that idea of genuine friendship is something found in the
good old days, throwing the audience back into a not-so-forgotten era
with a peppy 70s soundtrack. Marvel gets retro with this lot, but it
overcompensates in the family friendly stakes when paired with the
usual wisecracks this franchise has come to be known for.
The story itself is a simple one to aid
the introduction of the new group. After Quill gains possession of a
valuable artifact he becomes a target, and the group are thrown
together out of circumstance to try and keep it out of villainous
hands.
There's a little bit of a Thor complex
in there as Gamora becomes central to the plan - her family,
including Ronan (Lee Pace) and sister Nebula (Karen Gillan) are the
story's bad guys as they plot to destroy the people of planet Xandar.
There's a touch of Iron Man too, with Quill's desire to be known as
the edgy hero Starlord.
It's a hard ask for audiences to be
accepting of this group as part of the Marvel universe, with next to
no tie-ins with any of the characters previously focused on. To Gunn
and Nicole Perman's credit, the script contains some of the laughs we
should expect. But while Pratt and Saldana are great leads (Pratt
particularly comfortable with comedy), John C Reilly as Xandarian
officer Corpsman Dey and Benicio del Toro as The Collector don't get
enough screen time.
While not meant to be viewed as a
standalone film it easily comes across that way. It's because of that
the standard drops just a little bit within the Marvel story. These
guardians provide plenty of action to keep you entertained, and bring
something different to the Marvel spectrum - but ultimately serve as
what seems to be an unnecessary distraction for what lies ahead.
Rating: 3.5/5
MISSED LAST WEEK'S REVIEW? See what I thought of Charlie's Country.
Tuesday, March 04, 2014
The Week That Was: Workout food, flag debates and Australia's Kim Kardashian
0 comments Posted by Katina at 8:00 PMMonday, January 13, 2014
The Week That Was: Clothes recalls, Bresciano cleared and Shia off the rails
0 comments Posted by Katina at 8:00 PMHoping to get back into regular Storify feeds this year. Just depends on how my internet at home goes because it's a tempramental bugger...
Wednesday, October 30, 2013
The Week That Was: A move to Darwin, Fassbender-fest and crossbow cat
0 comments Posted by Katina at 8:00 PMA belated week that was. It was a huge week for me personally!
Monday, October 21, 2013
Prisoners (MA 15+)
DESPERATION is a theme known to all of us, something that can't be escaped, avoided or underestimated. It comes to those with the strongest of faiths in a god and those with no beliefs in the hardest of times, showing itself in a million different ways. Denis Villeneuve has recognised the power of emotion and turned a story of desperation into a grim picture of human nature.
Religion plays its part in desperation as help towards finding a way out. Keller Dover (Hugh Jackman) is a believer, a man taught to be prepared for everything that naturally comes to us in life. His world is destroyed when daughter Anna (Erin Gerasimovich) and her friend Joy (Kyla Drew Simmons) go missing, and naturally he and wife Grace (Maria Bello) are completely lost.
Alex Jones (Paul Dano) is brought into custody as a suspect, but inconclusive evidence leads to his release without charges. Keller's desperation comes to the fore when he believes Alex holds the truth, and sets his own plan in motion to seek it. Detective Loki (Jake Gyllenhaal) is at odds with Keller, not out of his doing, and his frustration increases as his solid reputation for solving crimes does him no justice in this case.
Keller is a formidable figure, losing his strength and turning to violence against those he believes have wronged him. He looks to God for his salvation and the return of the girls, and is one of many to play the blame game. Keller and Grace are more obvious in their distress than Joy's parents, Franklin (Terrence Howard) and Nancy (Viola Davis) - but they too have their strong views on those they see as responsible.
Aaron Guzikowski has thrown characters of all sorts into a story about family, trust and helplessness. His screenplay weaves Detective Loki's investigations with Keller's own journey to find the truth, adding in the impact the kidnapping takes on both of the families as well as Alex and his aunty Holly (Melissa Leo). Everyone is a prisoner, whether behind iron bars or in their minds.
Jackman is vulnerable as Keller, a man so scared of how his situation came to be he becomes someone else. Bello as the grieving mother is heartbreaking, and Gyllenhaal is great to watch as a bad-arse detective filled with doubt. But Dano's creepy suspect Alex is simply frightening, conveying with so few words a picture of secrecy and fear. Scenes between Dano and Jackman are the film's highlight.
With child kidnapping a contentious topic, films such as these show how easy it is for a family to collapse under its foundations. Villeneuve gives his cast a big opportunity to explore those emotions of helplessness and desperation, and they grab it. This tense thriller shows the strengths and weaknesses of family units as well as individuals when an unseen force comes from nowhere.
Rating: 4/5
Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) and Rotten Tomatoes from Saturday 19/10/2013
MISSED LAST WEEK'S REVIEW? See what I thought of 2 Guns.
Saturday, October 19, 2013
My review of Prisoners will be published tomorrow.
Sticking with tonight's usual theme though, you get two articles I wrote for Movie Mezzanine during the week!
After the site's reveal of our top films of the 1970s, I took the liberty at thinking about how lists come to define many people's movie-watching - myself included.
ICYMI, @Katiinkaa wrote about "anarchy disguised as order" when it comes to our obsession with making lists. http://t.co/BfepVGtozsAnd then I had something to say on the Fifty Shades of Grey production...
— Movie Mezzanine (@MovieMezzanine) October 18, 2013
Could Charlie Hunnam's decision to leave Fifty Shades of Grey end up saving his career? @Katiinkaa thinks so. http://t.co/DYCYIuNpLZ
— Movie Mezzanine (@MovieMezzanine) October 18, 2013
Thursday, October 03, 2013
Last night I attempted to try corn-flavoured confectionery.
Yeah, this stuff...
And - it was OK. Creamy corn. It was more the liquid that tasted flavoursome, the jelly itself ultimately became rather tasteless but still nicely chewy.
I love trying new foods.
***
I got to have a do-over last night, as I wrote my second review of Runner Runner in a week. I think I like the Movie Mezzanine version better. Check it out and if you've read both tell me what you think.
RUNNER RUNNER -- a world of beautiful people and corruption you hardly care for. Our review by @Katiinkaa. Read on: http://t.co/ILUkjGDykM
— Movie Mezzanine (@MovieMezzanine) October 2, 2013
Saturday, September 07, 2013
White House Down (M)
PROTECTING the integrity of the United States government continues to loom large as unrest around the world hangs around like a stubborn wound. The US is not without its own internal issues, but makes claim to have the most secure and financially stable defence system in the world.
Destabilising that system has come into Hollywood's sights more than once in 2013.
Olympus Has Fallen earlier this year took a look at the frailties of the White House and what one man would do for his country. Now, White House Down does... exactly the same thing.
Roland Emmerich's return to action after 2011's Anonymous is as big as one would expect from the Independence Day director. Although he was beaten to the screen by Olympus, that hasn't stopped Emmerich from flaunting his big stars, Channing Tatum and Jamie Foxx.
Magic Mike and Django make for an unlikely pair, but when John Cale (Tatum) finds himself the only person able to protect President Sawyer (Foxx) they find common ground in their patriotism. They find out they're up against a group of paramilitary invaders, and clue by clue (or dead guy by dead guy) they discover the group's plot.
The film plods along slowly for its 131 minutes as Cale and the President encounter one assault after another. It steps up from the general fistfight to a car chase to surviving multiple explosions. Emmerich is not one to let action take a back seat, but it is drawn out to excess because of the invaders' supposed inability to get their job done.
It's all a bit too confusing. Even within the military group, no one knows what's really going on as they each have their own agenda. What that agenda for a few is isn't clear, while for the main players it's hard to care.
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| Photo: spinningplatters.com |
James Vanderbilt, writer of the charming The Amazing Spider-Man, has failed to create a solid action story. He draws on a mix of past action successes but still produces a convoluted tale not sure of its nature.
Those comparisons to Olympus can't be ignored. There's a President, a guy wanting to protect him, the bad guys and a kid. This story has Emily (Joey King) as Cale's daughter, an 11-year-old conscious of politics and social media but still very much a child. Special Agent Finnerty (Maggie Gyllenhaal) is the other source of gender balance, who keeps in communication with Cale throughout the ordeal.
Gyllenhaal comes out of this looking best with her character's strong-yet-gentle persona.
For the men it's a case of who can look angriest. James Woods does a fine job at that as Martin Walker, chief of the Secret Service, while Australian Jason Clarke is left to look the most confused.
It's all a bit Die Hard-esque in how it tries to show the good guys. Tatum is given a shot of comedy here and there, but the film's overall uncertainty makes the lines appear terribly out of place.
The twist (and there is one) isn't thought out enough to make an impact and ends the film with a shrug. Emmerich delivers on over-the-top action for a mindless adventure, but nothing more.
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) and Rotten Tomatoes from Saturday 7/9/2013
MISSED LAST WEEK'S REVIEW? See what I thought of RED 2.
Friday, August 09, 2013
I wrote earlier this week about feeling as if I'm back in the film critic game.
But to cap a good week off, on top of now having my Daily Liberal reviews recognised on Rotten Tomatoes, I am now also a contributor to American film site Movie Mezzanine.
I'm one of a number of contributors from around the world, all of us I'm sure there to hopefully gain that little bit more exposure and continue crafting our film-writing talents.
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| Photo: tonedeaf.com |
If you would like to have a read and share your love please do, and any comments are appreciated as always.
The idea is that I'll be an opinion/feature writer on the site and bring my views on news in the film industry from around the world.
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Quality rather than appearance... ethics rather than rules... knowledge rather than achievement... integrity rather than determination... serenity rather than acquisitions.
Intention is the energy of your soul coming into contact with your physical reality.
Saturday, August 03, 2013
The World’s End (MA 15+)
SIMON Pegg and Edgar Wright rarely have a problem with letting go of the past. Their previous collaborations involve the struggles of renting, zombies and disgruntled police officers – stories in essence about where their life is headed, or what could be better.
The last film in the Three Flavours Cornetto trilogy (following Shaun of the Dead and Hot Fuzz) isn’t without those themes, but they play second fiddle to a central character that can’t move on from his younger days. They present a man who’s struggled to find his place in life because he felt he could never better his teenage self.
Gary King (Pegg) believed he was a ruler of Newton Haven during his school days. He loved his best friend Andy (Nick Frost), and other mates Peter (Eddie Marsan), Steven (Paddy Considine) and Oliver (Martin Freeman) and thought they were invincible.
An epic pub crawl along their town’s Golden Mile still plays on Gary’s mind 20 years on as he rues the fact he never reached pub number 12, The World’s End. With the boys back on board, his need for closure comes as they return to their hometown for one night of carnage.
The reunion is anything but rosy. Oliver, Peter, Steven and Andy are well-to-do adults with families and stable jobs, and don’t sit well with Gary’s carefree and selfish way of life. Andy hasn’t forgiven Gary for his involvement in a car accident, and refuses to take part in the way originally intended.
Let’s not forget the girl. There’s always one, and here it’s Oliver’s sister Sam (Rosamund Pike). An object of affection brings more mud to the surface as the pub crawl struggles to find its feet.
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| Photo: filmjournal.com |
Pegg and Frost never go without a fight, and the third time really is a charm. The tables turn for this final episode as Frost shows his serious side alongside Pegg’s… loser. Gary, as likeable as he is, really does show that being stuck in 1990 for 20 years doesn’t do well for one’s appearance.
It’s sad for anyone to see someone realise their life hasn’t worked out anything like what they wanted. A feeling of hopelessness exists between Gary’s brash attitude, as the story reveals finishing the Golden Mile is the only thing he believes he can accomplish.
The collaboration between co-writer Pegg and co-writer/director Wright works effortlessly well once again, the script frequently crossing the line into ridiculousness but maintaining a great mix of comedy and characters in a story about the end of the world as they know it.
Their tales of camaraderie among impossible situations is something to be admired, Pegg and Frost a perfectly average pair doing their best to get along with life and its dramas. Alcohol may not solve the problems of the world, but for these guys it’ll do nicely.
Rating: 4/5
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) from Saturday 3/8/2013
MISSED LAST WEEK'S REVIEW? See what I thought of The Wolverine.
Saturday, July 27, 2013
The Wolverine (M)
EXCLUDING vigilantes like Kick-Ass and The Watchmen crew, the X-Men are the outcasts of the superhero world. Superman might be an alien who grew up on Earth and Spider-Man a kid hiding in the shadows, but this class of A-grade mutation gives real reason to be disgusted with life.
Wolverine's a pretty angry guy, characterised by his claws and mean facial chops. His immortality makes for physical invincibility but emotions run deep within him for things he has failed to forgive or forget.
The ups and downs of Jackman's time fighting for justice have now been shown in six films, the most for a superhero in any single role. Wolverine's been through a lot, and his story is not near a closing chapter.
The second Wolverine stand-alone film takes place after the events of X-Men: The Last Stand, which left him broken. Wolverine (Hugh Jackman) still mourns the death of Jean Grey (Famke Janssen) and has removed himself from a life of fighting crime.
Yukio (Rila Fukushima) sees that hiding does him no favours; she finds him on behalf of Yoshida (Hal Yamanouchi), someone wishing to repay a debt for a favour given long ago. Wolverine's reluctance to face his demons is challenged as he goes to Japan to grant Yoshida a dying wish.
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| Photo: aceshowbiz.com |
The story from Mark Bomback, Scott Frank and Christopher McQuarrie shows Wolverine at his weakest, a man fragile from his actions and unsure about the value of life. His immortality is an entrapment, a curse that a large part of him so dearly wants to be rid of.
Ridding himself of that immortality is a temptation Wolverine comes across, as is Yoshida's granddaughter Mariko (Tao Okamoto). As Mariko finds herself in danger, Wolverine's questions about existence become more evident.
The Japanese setting lends itself nicely with themes of tradition, honour and respect. Wolverine, in his fight to protect Mariko, takes those all on board and tries to connect them with an angry soul.
As a stand-alone film, it's a story about a man reclaiming his purpose. Director James Mangold weaves a story that blends the past and present while questioning the future. Japan provides a beautiful backdrop to the tale at hand.
Within the X-Men universe, it's an important chapter. Wolverine, the most well-known character of the group, is presented at his most vulnerable. It's a common thread within superhero films these days, but to see one at their weakest is to appreciate their strongest attributes.
The closure for Wolverine is well crafted and should give fans what they were looking for. But a post-credits scene is just one thing which proves his story is not done with just yet.
Rating: 3.5/5
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) from Saturday 27/7/2013
MISSED LAST WEEK'S REVIEW? See what I thought of This Is The End.
Saturday, June 08, 2013
The phenomenon that is the Furious franchise came as somewhat of a massive shock to me as I got to the cinema on Thursday night...
Fast and Furious 6 attendance at #Dubbo is mental, had to sit on the edge of the back row next to 12yo boys... #howembarrassing #atthemovies
— Katina V (@Katiinkaa) June 6, 2013
Then the audience were in fits of laughter for half of the film - I didn't find it all that amusing, but on asking two teenage boys afterwards and them saying it was awesome, I understood just a little bit. I think people have really gotten to appreciate the characters. I get that about LOTR or even Harry Potter and Twilight - but still, these guys?...
Anyway, I got through it. And it was alright.
Fast & Furious 6 (M)
FAST cars, flash women and some pumping beats count for a lot of men’s biggest viewing pleasures at the cinemas, and nothing seems to have quite had as big an effect on the big screen in recent years as the Fast and Furious franchise, now stretching 12 years and six films.
While the series has made a couple of jumps in the story’s overall timeline, the basics for the latest addition to the series is knowing that Dominic (Vin Diesel), Brian (Paul Walker) and their crew are international criminals after a heist in Fast Five (2011), and they’ve suffered through the death of Letty (Michelle Rodriguez) in fourth film Fast and Furious (2009).
This slice of the Furious pie gives flashbacks to these events for those supposedly few in the cinema not in the know - but while that’s sorted, you may be still pondering how Letty comes back from the dead. Yes, a prodigal cog in the wheel returns.
Dominic is coerced into helping Diplomatic Security Service agent Hobbs (Dwayne Johnson) when he discovers Letty is alive. He and his ‘family’ must try and track down Shaw (Luke Evans), who destroyed a Russian military convoy.
You could say credit’s due to returning director Justin Lin and writer Chris Morgan, in that they don’t let the story get in the way of some action and intense car chases. After all, by this point the franchise is well and truly for the fans. And they don’t disappoint.
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| sehartv.com |
Said car chases threaten to bury the story as a whole, but the appreciation for the sense of family that increases throughout the films results in character development surprising to those outside the Furious fan sphere.
The crew have all found some sort of contentment after the last film; that is obvious enough. But like any hothead who can’t resist a thrill-seeking escapade, they can’t sit still. They’re not a group that claim to be reformed, but they were meant to be done and got back in the game. That’s what some will do for family.
The cast, which also includes rapper Ludacris, Tyrese Gibson and Sung Kang, are given some incredibly cringy lines which attempt to put across some form of slapstick comedy. Thankfully, the action is plentiful and slick; one car chase was practically ripped right out of The Dark Knight trilogy.
This instalment will please fans as it continues the family story, but at 130 minutes it’s a long ride. It gives the fans what they want and doesn’t build unnecessary expectation - oh, except for a post-credits scene they’ll wet themselves in excitement for.
Rating: 3/5
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) from Saturday 8/6/2013
Friday, May 31, 2013
My venture to the cinema on Thursday night was different to most other weeks. I had unexpected but lovely company, and I finally saw the trailer for The Hunger Games: Catching Fire which was awesome. I can't wait. Great excuse to read the books again if I have the time.
Now to the review, a film long awaited and carrying mixed views from reviewers elsewhere. I rather liked it. And yes, I have read the book.
The Great Gatsby (M)
A MAN who feels the need to put himself under continuous pressure to please others by increasing his overall extravagance - and succeed - is most thought in black and white terms to be a genius or a madman. The hero of the 20th Century’s first Great American Novel is one such character, elusive but always shielding a purpose.
It’s likely Australia’s most flamboyant director sees a bit of himself in Jay Gatsby, striving for difference in a sometimes repetitive Hollywood world. Baz Luhrmann’s interest in remaking The Great Gatsby should come as no surprise though, nor the result.
Some will baulk at the thought of F Scott Fitzgerald’s novel being presented as a sensual feast for the outlandish Generation Y lot. More will hate the idea of rapper Jay-Z’s involvement as executive producer and major contributor to the soundtrack. But Luhrmann’s interpretation manages to largely remain true to the core story of Gatsby and his Daisy.
Nick Carroway (Tobey Maguire) is befriended by neighbour Gatsby (Leonardo DiCaprio) after moving to New York, and is swept away by a beckoning Wall Street and the razzle and dazzle of the roaring 20s. He makes visits to his cousin Daisy Buchanan (Carey Mulligan) and her husband Tom (Joel Edgerton), and develops an unconventional relationship with Jordan Baker (Elizabeth Debicki).
While Carroway doubts the integrity of his neighbour, Gatsby’s intentions are true and unyielding. His encounter with Daisy five years before was brief but enough to change him. It’s one of many ideas Mills and Boon would use to make an empire of years later – but this is not the stuff of soppy romance.
Catherine Martin has once again shown her prowess as production and costume designer, creating the lavish visuals to transport us into the lives of the rich and the naughty. It’s everything the eyes expect of a Luhrmann/Martin work, with open shots and carefree frivolity again a winning combination.
The music, a regular standout in Luhrmann’s films, is prevalent with Jay-Z’s hip-hop influence, but not overly provoking. Liberties extend only slightly to the source material if you don’t count the general lighter attitude to their lifestyle his interpretation takes; Luhrmann and long-time co-writer Craig Pearce retain the affecting prose Carroway uses to describe his recollections.
DiCaprio’s return to working with Luhrmann is a show of maturity, having developed from the fresh face of Romeo Montague into something a whole lot more serious. But in the end he still revisits the struggling love-stricken man caught in an impossible situation.
To capture the essence of Fitzgerald’s characters on screen is (arguably) one of cinema’s hardest tasks, and not all will reach fans’ expectations. For those new to the story of Gatsby though, it will provide worthy entertainment. Home is where the heart is, and Luhrmann’s thrown himself a party to give it a good go - but that extravagance can never fill every empty hole.
Rating: 3.5/5
MISSED LAST WEEK'S REVIEW? See what I thought of Snitch.
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) from Saturday 1/6/2013
MISSED LAST WEEK'S REVIEW? See what I thought of Snitch.
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