Showing posts with label movie review. Show all posts
Showing posts with label movie review. 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 25, 2014
I was forced to see this when my cinema had not yet received the copy of my nominated film. It was 7pm on the Thursday and they hadn't received it. How ridiculous. So then I had to join all the British backpackers in town and sit through this car crash of a film.
The Inbetweeners 2 (MA 15+)
TO the odd few absolute cluelessness is
an endearing quality to come from a person. Though as the number of
people in close proximity with that quality increases, that feeling
dissipates. And then there's the utter lack of despair felt when
looking at the quartet that make up the Inbetweeners.
They're a truly sorry mob, with Will
(Simon Bird), Simon (Joe Thomas), Jay (James Buckley) and Neil (Blake
Harrison) still having absolutely no idea about how to deal with
girls or the world. Life goes on, but for these guys it really is all
that much more difficult.
Running away from problems is something
done very well by a large proportion of humans, as a way to clear the
mind and supposedly grow as a person before actually dealing with the
issues still waiting there.
This lot does exactly that – Will,
who hates his university life, Neil, who has no direction, and Simon,
who wants to escape girlfriend-from-Hell Lucy (Tamla Kari), decide to
spontaneously travel to visit Jay during his working holiday.
The Poms will still never miss a chance
to have Australia on, in jest showing our sunburnt country as a haven
for hippies and opportunity to land easy sheilas. It's hard to take
anything seriously when breaking the fourth wall includes kicking
koalas and knocking people out with boomerangs. But to the boys it's
the lucky country where they hope those problems of theirs will wash
away.
Unfortunately for each of them things
seem to get worse – a hundred times more than anyone could ever
imagine. Their journey to Byron Bay, for Will's benefit after bumping
into school friend Katie (Emily Berrington), brings obstacles thought
impossible for such a laidback town. Down on their luck in every
department, things appear that they will never change.
The sheer stupidity shown by the group
raises serious questions about how they have become such endearing
characters to watch on both the small and big screens. Their complete
lack of sensibility and understanding about general interaction is
like a car crash, the misogyny too rampant to warrant giving it
detail.
And that's how the film feels as a
whole as things get from bad to worse. An uneasy, cringing feeling
lingers as their trip unfolds, with jokes covering everything from
paedophiles and spirituality to getting shitfaced. They wear thin
across the 96 minutes which is maximised by a slow plot.
Directing/writing duo Damon Beesley and
Iain Morris, the creative minds behind these characters, do at least
work the film around a story. The plot is filled with mishaps, but
the story is a development on their previous outing. The script gives
equal time to each of the group, but there's too many crude jokes and
too much of Will's obnoxious-but-I-don't-know-it nature, making you
want to cry for help.
Only fans knowing the group's history
and understanding their aspirations will appreciate this mess of a
story. New audiences will see the film in a different light, unable
to accept that quality of cluelessness they all possess - or for that
matter the complete lack of respect for women.
Rating: 2/5
To be published in the Darwin Sun on Wednesday 27/8/2014.
MISSED LAST WEEK'S REVIEW? See what I thought of Begin Again.
MISSED LAST WEEK'S REVIEW? See what I thought of Begin Again.
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.
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, July 29, 2014
While I'm about to return to my commitment of writing for the Darwin Sun, this review isn't getting a proper run - but I thought I'd share it with you anyway. I'm glad to have gotten back into the swing of things by writing something, and am going to make a conscious effort to return to past glory with regular musings. I'll admit Darwin has so far been a more difficult place to keep cinema visits up.
My views on Charlie's Country may soon pop up in an essay as an expansion of what I've written here, so watch this space. For now, I strongly encourage Australians to watch this film so have a squiz as to why I think you should.
Charlie's Country (M)
THE DIFFICULTIES indigenous Australians
face in their communities are primarily documented in the media by
reports on violence and alcoholism. They are indeed problems, and
highlight the need to look at how governments handle future
population placement.
There are few directors that regularly
champion the stories of indigenous Australians, and within those none
quite like Rolf de Heer. The Dutch-born director, now boasting three
collaborations with veteran talent David Gulpilil, explores
traditional and modern values within the most simple of interactions
and stories.
Charlie (Gulpilil) is a man who does
not know where traditional values end and modern ones begin. He feels
trapped in his community, wanting the same privileges as the white
man and bemoaning the lack of general opportunity.
He is a larrikin, helping the police
catch criminals and then turning on them. He clings on to the past,
and can't see a fulfilling future. A decision to go bush in an effort
to find food and return to his roots sets Charlie on a path of
discovery, changing the way he sees his homeland and his situation.
Each of the film's three undefined
chapters change the tone of Charlie's story dramatically. His time in
the community is laced with wit and establishes human connections,
while his walkabout brings a complete alienation from the world.
Charlie's return to society, taking him to Darwin, brings his story
full-circle as he reconnects.
Stark contrasts make for a shift in
attitude for Charlie, a man who refuses to lose his humour; happy to
talk to himself and keep preoccupied. Gulpilil's depth as an actor is
revealed to us beautifully, de Heer knowing his star and using his
talent in an almost haunting way. The use of facial expression in
this one-man show is extremely powerful, Gulpilil showing the
complexities of Charlie with ease.
Shot on location across the Northern
Territory, including Darwin, we are privy to both the run-down areas
of closed communities and the natural beauty of Arnhem Land. The
latter is a beautiful part of Australia rarely seen in cinema, de
Heer exploiting it for our benefit.
The film is let down by the second
half, where the pace is slowed right down to drag things along. But
this third collaboration between de Heer and Gulpilil, after The
Tracker and Ten Canoes, was rightly a Cannes Film Festival
hit. Gulpilil's Un Certain Regard Best Actor win affirmed the
strength of their professional relationship as well as a great
individual performance
It is a film Australians should make an
effort to see, not only to understand the difficulties faced in
indigenous communities, but see our country's film-making talent at
its finest.
Rating: 4/5
Saturday, November 02, 2013
Thor: The Dark World (M)
THE TALE of Asgardian heir to the throne and
all-round god Thor is Marvel's most mixed with its elements of medieval living
and intergalactic reach. It's an ironic notion to think we're looking for some
superior alien race, and Marvel have nothing to suggest that for much of it life
is where Earthlings were 1500 years ago.
At the same time, Thor's story is
most relatable with its focus on his relationship with brother Loki. The pair
could not be more opposite (indeed on-screen representatives Chris Hemsworth and
Tom Hiddleston appearance-wise), representing good and evil while managing to
keep a light head.
A parallel of good and evil is what this sequel first
shows; while Thor is off fighting for peace within the nine realms Asgard rules
over, Jane Foster (Natalie Portman) is still losing a two-year battle of
heartbreak. Not even the bumbling charm of Richard (Chris O'Dowd) can improve
her mindset.
Jane's work has led her to London, where her time as a singleton
comes to an end after falling through a portal to an unknown realm and
contracting the Aether. You'd be right thinking that's a bad thing - the Aether
is a matter capable of destroying worlds and highly sought by exiled elf
Malekith (Christopher Eccleston).
It's a triple whammy for Jane - she finds
her love once more, gets to travel to Asgard and meets the parents (Rene Russo
and Anthony Hopkins). But the plan to be rid of a threat known previously to
Thor only in childhood stories has the saviour in a real predicament.
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| Photo: perezhilton.com - I love this! |
The Marvel Cinematic Universe just keeps on giving with this fine continuation of the thread. The script from Christopher Yost, Christopher Markus and Stephen McFeely is extremely entertaining, with plenty of unexpected twists and cracking humour delivered well by the cast. Everyone gets a go in contributing, and no one disappoints.
Importantly, the story continues the ongoing feud between brothers, founded from Loki's desire for the Asgardian throne and still fuelled by his view of supposed favoritism towards Thor. It's essentially Marvel's version of any given sibling rivalry, engrossing for its wave of positive and negative emotion as well as Loki's ability to keep everyone guessing.
Hiddleston has fun with his gleeful villain, creating the smallest bit of sympathy while still managing to exude a most evil interior. Alongside him, Hemsworth counteracts nicely as Thor with his strong presence and good intentions. The supporting cast all return, including a crazed Stellan Skarsgard, and new characters create unexpected sub-plots to add to the overall story twists.
As per usual within Marvel's realm, post-credit scenes give an insight of what's to come - and they won't disappoint. The first film delivered a good introduction, and now we learn Thor can withstand complex issues that concern Asgard and Earth. A great continuation not to be missed.
Rating: 4/5
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post, Midstate Observer (Orange) and Rotten Tomatoes from Saturday 2/11/2013
MISSED LAST WEEK'S REVIEW? See what I thought of Captain Phillips.
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 12, 2013
2 Guns (MA 15+)
WHEN corruption within the US government is presented in film, more often than not it has to do with the country’s president. This film by Baltasar Kormakur doesn't touch on that for a change, but still shows corruption on multiple levels to say that everyone’s the bad guy.
Bobby (Denzel Washington) and Stig (Mark Wahlberg) are a team that liaise in deals with Mexican drug kingpin Papi Greco (Edward James Olmos). They rob a bank meant to be containing Papi’s money as a revenge plot for a double-cross before Bobby is found out by his partner to be a DEA agent. Stig’s no different though as a naval intelligence officer, and while the double double-cross is usually a bit of fun, it creates a snowball effect of confusion for the plot that follows.
The script mistakes its flaws as suspense. Characters are introduced without proper explanation, and a failed relationship between Bobby and fellow agent Deb (Paula Patton) serves only to get Patton topless.
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| Photo: digitaltrends.com |
There’s plenty of shoot-offs and menace from everyone involved. Bill Paxton and James Marsden get their hands dirty as government and military officials respectively, while Olmos gets a bit of a laugh out of it all.
What is evil then? In this case it’s everything - the film is not clean in character, story or look. Two guns recur as a motif throughout the film but don’t give us anything to draw from. It’s a mindless journey with typical, but still disappointing, results.
Rating: 2/5
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) and Rotten Tomatoes from Saturday 12/10/2013
MISSED LAST WEEK'S REVIEW? See what I thought of Gravity.
Saturday, October 05, 2013
This. Film. Was. Amazing.
Just go.
Gravity (M)
LONELINESS and isolation are feelings which make life a
struggle, but the situations we feel as humans on Earth are all relative when
compared to the vast unknown that is the greater universe. For a limited number
of our planet’s inhabitants, that isolation is felt on a level the rest of us
can only begin to imagine.
Alfonso Cuaron toys with loneliness and isolation as he
places a medical engineer in space who finds escape in zero gravity from the
problems that wait for her on soil. Ryan Stone (Sandra Bullock) is a woman
extremely out of her comfort zone, which we are reminded of gives way to
heightened emotions when there’s no foreseeable end.
She is on a mission that sees her research come to fruition
through the installation of new technology on a spaceship. Joined by astronaut
Matt Kowalski (George Clooney) while making repairs, they come under duress
when debris from destroyed satellites is coming their way. And then the real
fun starts.
Cuaron creates an ever-expansive view of space with a
breathtaking 17-minute opening shot. Establishing the characters in as intimate
a way possible within this realm, the focus is drawn to them and how minuscule
they are in such grand surroundings. That either of them could be at all calm
is a miracle.
Ryan is not though, and Cuaron’s close focus on her
throughout the ordeal of trying to get to a surviving station to launch back to
Earth is a masterstroke. Her worst fears are brought to the fore in what
becomes her moment of truth.
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| Photo: empireonline.com |
The film provides a number of reminders about where humans
sit in the grand scheme of existence, though it rids itself of any
overwhelmingly moralistic moments by introducing constant obstacles in Ryan’s
ordeal. Her attempt to reach the final destination is as hard in space as it
seems for us for anything on the ground.
While minimalist on dialogue, the same refuses to be said
for the rest. This film, quite simply, is big. Constant sweeping shots and a
highly affective score make the film faultless. The 91 minutes are drawn out to
feel like a lifetime to suspenseful effect, tense and convincing. Bullock and
Clooney together share poignant scenes jokingly discussing life stories, while
alone Bullock is the star. She plays Ryan as a woman scared to face her
problems, and afraid of the consequences of letting go.
The picture is startlingly crisp, no doubt aided by 3D
technology. The use of 3D works to Cuaron’s favour, not allowing the audience
to become complacent with the story but still creating a mesmerising image. He
intertwines moments of terror with sadness repeatedly and to the film’s
benefit, toying with his viewers’ emotions as well as that of Ryan.
Cuaron’s creative control as director/producer/writer is
genius. In space no one can hear you at all, and that’s the scary truth.
Leaving you in absolute awe, this is unmissable for fans of sci-fi and cinema
alike.
Rating: 5/5
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) and Rotten Tomatoes from Saturday 5/10/2013
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) and Rotten Tomatoes from Saturday 5/10/2013
MISSED LAST WEEK'S REVIEW? See what I thought of Runner Runner (also reviewed for Movie Mezzanine).
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.
Saturday, August 31, 2013
RED 2 (MA 15+)
RED was something of a mild success, a comic book adaptation without the fanfare but with the oddest bunch of oldie agents around. While not in the same category as other DC or Marvel comic fare, a high-calibre cast gave it the gravitas it needed to stand in its own field.
As to be expected in the life of a former CIA agent though, trouble finds them when they are implicated to have knowledge of the location of a bomb created as part of Operation Nightshade.
Like other action sequels (think Taken 2), the story expands to allow international locations and the introduction of what are meant to be more exotic characters. Katja (Catherine Zeta-Jones) is a Russian agent revealed to be Frank's Kryptonite, while David Thewlis plays a man simply known as The Frog.
Anthony Hopkins is Dr Bailey, the English scientist key to the gang's mission. While he appears less strung up in his role than Zeta-Jones or Thewlis, the lunacy his character exudes is ultimately representative of the film as a whole.
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| Photo: clotureclub.com |
Added nods to the original (comic) material through animated segues clash with the overall style of the film. RED never had the feel of a comic adaptation, and this story doesn't either; for agents that don't hold superhero powers, they don't need to. This story continues with plenty of action, blending traditional blow-ups Willis-style with the Asian martial arts skills Han (Byung Hun Lee) unleashes on his opponents.
The script by returning writers Jon and Erich Hoeber fails to create genuine comedy, instead producing a lot of simple stupidity and gags for laughs to a shallow few. It draws on the previous relationships but lacks inspiration to develop them into anything worthwhile. Even the music is unsettling, switching from Linkin Park to Eastern spy themes and managing to add nothing but unwanted tension.
Parisot has created a pot of boiling madness, and if anyone escapes with minimal injuries it's John Malkovich as fellow agent Marvin, and Hopkins. For the rest, it should be straight to the loony bin - but the announcement of a third film means the madness is far from over.
Rating: 2/5
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) and Rotten Tomatoes from Saturday 31/8/2013
MISSED LAST WEEK'S REVIEW? See what I thought of Kick-Ass 2.
Saturday, August 24, 2013
Tonight's review has a bonus entree for those of you like me keeping warm and cosy on the couch on this Saturday night.
I'm now what I'd like to think a contributor proper to Movie Mezzanine with a second piece now published. Have a read and tell me what you think:
Here's @Katiinkaa on why next year's 'Fargo' series on FX warrants equal doses of skepticism and excitement. http://t.co/iPYTi9rPAH***
— Movie Mezzanine (@MovieMezzanine) August 22, 2013
This week's film was rather disappointing.
Kick-Ass (MA 15+)
THE FIRST film about Dave Lizewski and his invention of Kick-Ass was a direct response to Sam Raimi's Spider-Man trilogy if nothing else. Twisting direct quotes and scenes, Matthew Vaughn's telling of this fanboy's fantasies was a punchy look at how superheroes in the real world could come to exist. And an 11-year-old Chloe Grace Moretz saying the 'c' word for good measure.
Three years later we see the return of Dave/Kick-Ass (Aaron Taylor-Johnson) and Mindy/Hit Girl (Moretz) in the time after the first film's events. The crime fighting has stopped but Dave wants back in. The thought of achieving success as Kick-Ass is an addiction, and with Mindy by his side as trainer and potential partner in crime Dave believes they could do great things.
This sequel in many ways is a repeat of its predecessor. The Spider-Man references/style continues, there's another bad reference from the little lady and a new superhero father figure emerges in Jim Carrey's Colonel Stars and Stripes.
More emphasis is placed on Mindy coming out of her shell as a 15-year-old. She is subject to bullying at school from the mean girls she tried to befriend and discovers how males can be seen as an object of desire. Secret fantasies are also a game changer for The Motherf----er (Christopher Mintz-Plasse), in dominatrix-inspired get-up as the world's first supervillain. He's out for Kick-Ass' blood to avenge the death of his father.
It becomes a battle of the supporters as both Kick-Ass and The Motherf----r have strength in numbers. The good team is an odd bunch, but all reveal good reasons for being there in the film's most poignant scene. The bad guys - well, that's where the film begins to spiral.
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| Photo: collider.com |
John Leguizamo is the only sane one in the baddie camp as he tries to explain the political incorrectness of henchmen names like Genghis Carnage and Black Death. It doesn't work, and The Motherf----r steadily declines into a psychotic state. The film eventually hits rock bottom as it attempts to make a potential rape scene a point for laughter.
Director Jeff Wadlow took over from Vaughn to create a similarly stylised affair. But gags best kept to the Batman series of the 60s somehow make their way into this hyper-violent world where they don't belong, and the film suffers as a painful return as it struggles to kick any butts or gain credibility.
Rating: 2/5
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) and Rotten Tomatoes from Saturday 24/8/2013
MISSED LAST WEEK'S REVIEW? See what I thought of Elysium.
Saturday, August 17, 2013
Elysium (MA 15+)
WE all have a dream, something that we believe will justify the purpose of our creation as a human being. Some go on to win the Noble Prize, others become doting parents, and in one way or another we all get what's coming to us.
Death is one of a few certainties in life, suffering a possibility for many. Neill Blomkamp is, in the early stages of his directing career, expressing uneasiness about the level of suffering in our world.
Blomkamp's anticipated return to the big screen following his 2009 debut District 9 again deals with an unsettled Earth. This time he takes us into the year 2154 as he sees it, showing a Los Angeles littered with disease and chaos. The elite of human society have escaped to Elysium, a constructed living space outside the Earth's atmosphere. A place where sickness can be healed, it is a glimmer of hope just out of the world's reach.
Max (Matt Damon) never stops wondering. As a child, it was a beautiful star in the sky. A tainted view after life as a thief gives him little hope of achieving the dream of getting there. But it is desperation that finally gives Max his way out. He becomes an important part of criminal Spider's (Wagner Moura) plan to extract data that could allow any human onto Elysium.
Blomkamp's script is careful to remind us there can still be trouble in paradise. Perfection takes a stranglehold at Elysium, defence secretary Delacourt (Jodie Foster) particularly feeling the strain. Her actions in working with rogue agent Kruger (Sharlto Copley) are reckless, and the stability of the habitat is shaken with the advance of Spider and Max's plan.
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| Photo: thevipconcierge.com |
Regressing to a no less harder but simpler time as a youth is how Max deals with the pressures at hand. While taking Spider's job was initially for his own benefit, he comes to realise that helping others is an important addition to the deal. On that turn in the story, it becomes a story of planetary survival against the fittest.
Blomkamp balances flashbacks with multiple action sequences well, not adhering to a constant style to keep you on your toes. He gets good performances out of Damon and Foster, but his return to working with fellow South African Copley gives the film a creepily outlandish, near psychotic villain. It's for the film's benefit as the hopes and fears of Earth dwindle on a corrupt few on both sides of the coin.
Rating: 4/5
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) and Rotten Tomatoes from Saturday 17/8/2013
MISSED LAST WEEK'S REVIEW? See what I thought of Now You See Me.
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