Talking Movies

February 4, 2015

2015: Hopes

Filed under: Talking Movies — Fergal Casey @ 7:22 pm
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Chappie

The Water Diviner

Russell Crowe makes his directorial debut with a timely WWI tale about the formative trauma for the Antipodes of the slaughter of the ANZAC in Turkey. TV writer/producers Andrew Knight and Andrew Anastasios provide the screenplay, which is a step away from their usual crime caper comfort zones, in which Crowe travels to Gallipoli in search of his three missing sons in 1919. He is aided in this likely fool’s errand by Istanbul hotel manager Olga Kurylenko and official Yilmaz Erdogan, while familiar Australian faces like Damon Herriman, Isabel Lucas and Jai Courtney round out the cast.

 

Chappie

Hugh Jackman and Sigourney Weaver are career criminals who kidnap the titular character and raise him as their own adopted son – but he’s a robot! Yeah… This peculiar feature is definitely a change of pace for writer/director Neill Blomkamp but it’s not clear from his first two features District 9 and Elysium whether he has the chops for a smart sci-fi crime comedy mash-up. District 9 was a gore-fest with a hysterically muddled message about apartheid, while Elysium was an embarrassing, illogical call to arms for Obamacare. Jackman’s been on a bit of a roll though so fingers crossed.

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The Gunman

March 20th sees Sean Penn attempts a Liam Neeson do-over by teaming up with Taken director Pierre Morel for a tale of a former special forces operative who wants to retire with his lover, only for his military contractor bosses to stomp on his plan; forcing him to go on the run. The lover in question is Italian actress Jasmin Trinca, while the organisation and its enemies have an unusually classy cast: Idris Elba, Javier Bardem, Mark Rylance, and Ray Winstone. Morel will undoubtedly joyously orchestrate mayhem in London and Barcelona, but can he make Penn lighten up?

 

Furious 7

The death of Paul Walker delayed his final film. Following the death of Han, Dom Torreto (Vin Diesel) and his gang (Walker, Jordana Brewster, Ludacris, Michelle Rodriguez, Tyrese Gibson, Dwayne Johnson) seek revenge against Deckard Shaw (Jason Statham as the brother of Fast 6’s villain). Chris Morgan pens his third successive Furious screenplay but, apart from dubious additions like Ronda Rousey and Iggy Azalea to the cast, the main concern is how director James Wan (The Conjuring) will rise to the challenge of replacing Justin Lin. Wan can direct horror but how will he handle Tony Jaa’s chaos?

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John Wick

April 10th sees the belated release of Keanu Reeves’ acclaimed low-fi action movie in which his sweater-loving retired hit-man wreaks havoc after his dog is killed; it being his last link to his dead wife for whom he’d quit the underworld. M:I-4 villain Michael Nyqvist is the head of the Russian mob who soon discovers his son Alfie Allen has accidentally unleashed a rampage and a half. Chad Stahelski, Reeves’ stunt double on The Matrix, directs with a welcome emphasis on fight choreography and takes long enough to make the action between Reeves and Adrianne Palicki’s assassin comprehensible.

 

Mad Max: Fury Road

Well here’s an odd one and no mistake. Original director George Miller returns to the franchise after thirty years, co-writing with comics artist Brendan McCarthy and Mad Max actor Nick Lathouris. Max Rockatansky is now played by Tom Hardy channelling his inner Mel Gibson, roaring around the post-apocalyptic Australian Outback with Charlize Theron and Nicholas Hoult. This does look like Mad Max 2, but it’s not a remake; merely an excuse to do Mad Max 2 like sequences of vehicular mayhem but with a huge budget for the mostly practical effects, and some CGI sandstorm silliness.

Jurassic World

Jurassic World

Jurassic World opens its gates in June, boasting an all-new attraction: super-dinosaur Indominus Rex, designed to revive flagging interest in the franchise park. From the trailer it appears that in reviving this franchise new hero Chris Pratt has combined the personae of past stars Jeff Goldblum and Sam Neill. Bryce Dallas Howard meanwhile takes over Richard Attenborough’s presiding over disaster with the best of intentions gig. Apparently there will be some animatronic dinosaurs, but the swooping CGI shots of the functioning park emphasise how far blockbuster visuals have come since Spielberg grounded his digital VFX with full-scale models.

 

Mission: Impossible 5

July sees Tom Cruise return as Ethan Hunt for more quality popcorn as Christopher McQuarrie makes a quantum directorial leap from Jack Reacher. Paula Patton is replaced by Rebecca Ferguson, but Jeremy Renner, Simon Pegg, and Ving Rhames all return, as do Robert Elswit as cinematographer and JJ Abrams as producer. The trademark stunt this time appears to be Tom Cruise hanging onto the side of a flying cargo plane, the villain is possibly Alec Baldwin’s character, and the screenplay is by a curious combo of Iron Man 3’s Drew Pearce and video game writer Will Staples.

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St James Place

October 9th sees the release of something of an unusual dream team: Steven Spielberg directs a Coen Brother script with Tom Hanks in the lead. Hanks plays James Donovan, a lawyer recruited by the CIA to work with the Russian and American embassies in London in 1961 after Gary Powers’ U2 spy plane is shot down. The Company hope to secretly negotiate a release for the pilot, and keep all operations at arms’ length from DC to maintain plausible deniability. Amy Ryan, Mark Rylance, Alan Alda, and Eve Hewson round out the impressive cast of this drama.

 

Crimson Peak

October 16th sees Guillermo del Toro reunite with Mimic scribe Matthew Robbins. Their screenplay with Lucinda Coxon (Wild Target) sees young author Edith Cushing (Mia Wasikowska) travel to the titular mansion of a mysterious man, who lives in seclusion in the mountains. Apparently del Toro has outdone himself with the production design of the mansion’s interior. The cast includes Supernatural’s Jim Beaver as Wasikowska’s father (!!!), Tom Hiddleston, Doug Jones, Charlie Hunnam, and the inevitable Jessica Chastain. But can del Toro, who’s not had it easy lately (The Strain), deliver a romantic ghost story mixed with Gothic horror?

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Spectre

The latest Bond film will be released on November 6th. In a hilarious reversal of prestige John Logan’s screenplay was overhauled by perennial rewrite victims and action purveyors Neal Purvis and Robert Wade. Sam Mendes returns to direct as Daniel Craig’s 007 investigates the titular shadowy organisation, which makes a most welcome return after decades of lawsuits. Christoph Waltz may be Blofeld, Daniel Bautista is definitely his henchmen, Lea Seydoux and Monica Belluci are Bond girls, and charmingly Jesper Christensen’s Mr White links Paul Haggis’ Solace and Spectre. And Andrew Scott joins the cast! Perhaps Moriarty’s a Spectre operative.

 

Mr Holmes

Writer/director Bill Condon has been on quite a losing streak (Breaking Dawn: I & II, The Fifth Estate). So he’s reteamed with his Gods & Monsters star Ian McKellen for another period piece. Adapted by playwright Jeffrey Hatcher (Stage Beauty) from Tideland novelist Mitch Cullin’s work, this finds a 93 year old Holmes living in retirement in Sussex in the 1940s troubled by a failing memory and an unsolved case. Condon reunites with Kinsey’s Laura Linney, and intriguingly has cast Sunshine’s Hiroyuki Sanada, but this will be closer to ‘His Last Bow’ or Michael Chabon’s retired Holmes pastiche?

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Mockingjay: Part II

All good things come to an end, and Jennifer Lawrence’s duel with Donald Sutherland’s President Snow reaches its climax in November with what director Francis Lawrence considers the most violent movie of the quadrilogy. Familiar TV faces join the cast, with Game of Thrones’ Gwendolen Christie as Commander Lyme and Prison Break’s Robert Knepper as Antonius, and Philip Seymour Hoffman takes his posthumous bow as Plutarch Heavensbee. The last movie shook up the dynamic of these movies with a propaganda war, so it will be interesting to see how Lawrence stages an all-out rebellion against the Capitol.

 

Macbeth

Arriving sometime towards the end of year is Australian director Justin Kurzel’s version of the Scottish play starring Michael Fassbender as Macbeth and Marion Cotillard as Lady Macbeth. That pairing enough is reason to be excited, but we’ll also get Paddy Considine as Banquo, Elizabeth Debicki as Lady Macduff, David Thewlis as Duncan, and Jack Reynor as Malcolm. Not to mention that Kurzel directed The Snowtown Murders and his DP Adam Arkapaw shot True Detective. Hopes must be high therefore that this will be both visually striking and emotionally chilling in its depiction of Macbeth’s descent into bloody madness.

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Star Wars: The Force Awakens

The movie event of 2015 arrives on December 18th. The original heroes (Mark Hamill, Carrie Fisher, Harrison Ford) and their sidekicks (Peter Mayhew, Kenny Baker, Anthony Daniels) will all be making a welcome return after the passionless prequel protagonists. Director JJ Abrams has also cast a number of rising stars (Domhnall Gleeson, Adam Driver, John Boyega, Gwendolen Christie, Lupita Nyong’o, Oscar Isaac) and a total unknown (Daisy Ridley – allegedly the protagonist!) The trailer seemed to indicate that this trilogy might actually be some fun, but Super 8 showed that fan-boys sometimes forget to bring originality.

February 3, 2015

2015: Fears

Filed under: Talking Movies — Fergal Casey @ 11:20 pm
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Jupiter Ascending

The Wachowskis return, oh joy, in 3-D, more joy, with a tale of a young woman (Mila Kunis) who discovers that she shares the same DNA as the Queen of the Universe, and goes on the run with a genetically engineered former soldier (Channing Tatum), oh, and he’s part wolf… The unloveable Eddie Redmayne is the villain, but the extremely loveable Tuppence Middleton is also in the cast, and, oddly, there’s a cameo from Terry Gilliam, whose work is said to be an influence on the movie. Alongside Star Wars, Greek mythology, and the comic-book Saga it seems…

 

Fifty Shades of Grey

Jamie Dornan is Christian Grey, Dakota Johnson is Bella Swan Anastasia Steele, Universal are terrible gamblers. Take one novel: which is 100pp of hilariously obvious Twilight homage leading to pornography for hundreds more and an unsatisfactory ending; a sensation because of the ability to secretly read it. Now hire art-house director Sam Taylor-Johnson to make an R-rated film focused on the romance, after 5 Twilight movies of said romance shtick; and force people to say out loud what film they’re seeing, or at least be seen going to it. Sit back, and watch this gamble fail.

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Blackhat

Michael Mann returns with his first film since 2009’s uninspired Public Enemies. Chris Hemsworth, now officially a god in Iceland again, plays a hacker who gets a free pass from jail to help Viola Davis’ FBI agent liaise with her Chinese counterpart (pop star Wang Leehom) following a devastating cyber-attack in China which led to a nuclear incident. Hemsworth is distracted in his mission by Lust, Caution’s Chen Lien, and, if you’ve read the vituperative reviews, an appalling script. Mann’s been on a losing streak for a while, and his hi-def video camera infatuation only doubles down on that.

 

In the Heart of the Sea

March sees director Ron Howard take on Moby Dick. Or rather, tell the true story that inspired Moby Dick, rather than try and out-do John Huston. Chris Hemsworth, Cillian Murphy, Ben Whishaw, and Brendan Gleeson are among the hapless crew of the whaling ship Essex out of New England that runs afoul of a curiously vindictive sperm whale in 1820. Martin Sheen starred in a rather good BBC version of this disaster its grisly aftermath at Christmas 2013. Who knows if Howard will match that, but he’ll definitely throw more CGI at the screen.

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Avengers: Age of Ultron

Joss Whedon takes off the Zak Penn training wheels and scripts this sequel to 2012’s hit solo. James Spader voices the titular evil AI, unleashed by Robert Downey Jr’s Iron Man when fiddling about in Samuel L Jackson’s Pandora’s Box of Shield secrets. The great Elizabeth Olsen is Scarlet Witch, and Aaron Johnson is Quicksilver, but I find it hard to work up any enthusiasm for another ticked box on the Marvel business plan. Why? CGI and Marvel empire-building fatigue, a lack of interest in most of the characters, and great weariness with Whedon’s predictable subversion.

 

Lost River

What is the difference between a homage and le rip-off? The French should know and they loudly booed Ryan Gosling’s directorial debut as little more than Nicolas Winding Refn and David Lynch meeting up for a whimsical night out. Gosling also wrote this tale of a boy who finds a town under the sea down a river, and has to be rescued by his mother. Matt Smith, Christina Hendricks, Saoirse Ronan, Eva Mendes, and Ben Mendelsohn are the actors roped in by Gosling to flesh out his magical realist vision of a hidden beauty lurking underneath decrepit Detroit.

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Far From the Madding Crowd
Bathsheba (Carey Mulligan), a wilful, flirtatious young woman unexpectedly inherits a large farm and becomes romantically involved with three widely divergent men: rich landowner William Boldwood (Michael Sheen), dashing Sgt. Troy (Tom Sturridge), and poor farmer Gabriel Oak (Matthias Schoenaerts). John Schlesinger’s 1967 film of Hardy’s classic novel is a formidable predecessor for this May release. This version from director Thomas Vinterberg (Festen, The Hunt), was co-scripted with David Nicholls of One Day fame; another man whose tendencies are not exactly of a sunny disposition. Can the promising young cast overcome Vinterberg’s most miserabilist tendencies?

 

Tomorrowland

Well this is a curio… Brad Bird directs George Clooney and Secret Circle star Britt Robertson in a script he co-wrote with Damon LOST Lindelof about a genius inventor and a parallel universe, or something. Nobody really seems to know what it’s about. But then given Lindelof’s resume even after we’ve watched it we probably won’t know what it’s about. Bird proved extremely capable with live-action in Mission: Impossible 4, but explicitly viewed the talky scenes as mere connective tissue between well-executed set-pieces; pairing him with ‘all questions, no answers’ man seems like a recipe for more puzzled head-scratching.

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Ant-Man

Ant-Man was in 2015: Hopes until director and co-writer Edgar Wright walked because Marvel shafted him after years of development. I was highly interested in seeing Paul Rudd’s burglar become a miniature super-hero who’s simpatico with ants after encountering mad scientist Michael Douglas and his hot daughter Evangeline Lilly; when it was from the madman who made Scott Pilgrim Vs the World. When this deservedly nonsensical take on a preposterous property is being helmed by Peyton Reed; whose only four features are Bring It On, Down With Love, The Break-Up, and Yes Man; my interest levels drop to zero.

 

Terminator: Genisys

Quietly brushing 2009’s Terminator: Salvation into the dustbin of history in July is this script by Laeta Kalogridis (Pathfinder, Night Watch) and Patrick Lussier (Drive Angry). Game of Thrones’ Alan Taylor directs, which presumably explains Emilia Clarke’s baffling casting as Jason Clarke’s mother. That’s going to take some quality Sarah Connor/John Connor timeline shuffling. And this is all about timelines. Arnie returns! Byung-Hun Lee is a T-1000! Courtney B Vance is Miles Dyson! YAY!!!!! Jai Courtney is Kyle Reese … BOOOOOO!!!!!!! Did we learn nothing from McG’s fiasco? We do not need another muscle-bound actor with zip charisma.

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Fantastic Four

August sees Josh Trank shoulder the unenviable task of rebooting the Fantastic Four after two amiable but forgettable movies. Trank impressed mightily with the disturbing found-footage super-yarn Chronicle, and scripted this effort with X-scribe Simon Kinberg and Jeremy Slater (The Lazarus Effect). The cast is interesting; Miles Teller as Reed Richards, Kate Mara as Sue Storm, Michael B Jordan as Johnny Storm, Jamie Bell as Ben Grimm, and Toby Kebbel as Dr Doom; but this has had a troubled production, and carries an albatross around its neck as it must bore us senseless with another bloody origin story.

 

The Man from UNCLE

August sees CIA agent Napoleon Solo (Henry Cavill) and KGB man Illya Kuryakin (Armie Hammer) on a mission to infiltrate a mysterious criminal organization during the height of the cold war. Steven Soderbergh nearly made this with George Clooney from a Scott Z Burns script. Instead we get Guy Ritchie and Sherlock Holmes scribe Lionel Wigram. Sigh. Hugh Grant plays Waverley, while the very talented female leads Alicia (Omnipresent) Vikander and Elizabeth Debicki will highlight the lack of suavity and comic timing of the male leads; particularly troublesome given the show was dry tongue-in-cheek super-spy nonsense.

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Black Mass

Poor old Johnny Depp is having something of an existential crisis at the moment. People moan and complain when he does his quirky thing (Mortdecai). But when he doesn’t do his quirky thing people moan and complain that he’s dull (Transcendence). September sees him team up with Benedict Cumberbatch and Joel Edgerton for Scott Cooper’s 1980s period thriller about the FBI’s real-life alliance with Boston crime boss Whitey Bulger, exploring how  the bureau’s original good intention of running an informant was derailed by Bulger’s clever connivance, ending up as a sort of state-sanctioned take-over of the criminal underworld.

 

The Martian

Ridley Scott just can’t stop making movies lately, but he’s having a considerably harder time making good movies. November sees the release of The Martian starring Matt Damon as an astronaut stranded on Mars after being presumed dead in a ferocious storm. The supporting cast includes Jeff Daniels, Kristen Wiig, Chiwetel Ejiofor, Sean Bean, Michael Pena, Sebastian Shaw, Kate Mara, and the regrettably inevitable Jessica Chastain. Damon must try to send an SOS forcing NASA to figure out how on earth to go back and rescue him. Drew Goddard wrote the script. There’s the reason this might work.

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The Hateful Eight

November sees the return of Quentin Tarantino. The writer/director who never grew up follows his rambling gore-fest Django Unchained with another Western. But this one is shot in Ultra Panavision 70, despite being set indoors, and has more existential aspirations. Yeah… Samuel L Jackson, Kurt Russell, Tim Roth, Walton Goggins, and Zoe Bell return to the fold for this tale of bounty hunters holed up during a blizzard, while newcomers to Quentinland include Bruce Dern, Demian Bichir, and Jennifer Jason Leigh. Nobody’s told Tarantino to stop indulging himself in years so expect endless speechifying and outrageous violence.

September 11, 2014

A Most Wanted Man

Philip Seymour Hoffman’s swansong as a leading man sees him play a German spymaster in Anton Corbijn’s low-key intelligence thriller.

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Gunther Bachmann (Hoffman) is the harassed spymaster of a clandestine unit of German intelligence. Officially Gunther, his loyal lieutenant Irna (Nina Hoss), and Niki (Vicky Krieps) and Maximilian (Daniel Bruhl in a mystifyingly small part); the youngsters who do the physical side of operations; don’t exist, but they keep post 9/11 Hamburg safe from terrorist cells exploiting its port city porosity. Getting in their way is human rights lawyer Annabel (Rachel McAdams), who is attempting to get Chechen illegal immigrant Issa Karpov (Grigoriy Dobrygin) the fortune his despised war-lord father left in the hands of discreet banker Brue (Willem Dafoe). Gunther wants to turn Annabel, and so use both his existing mole Jamal (Mehdi Dehbi) and suspected terrorist Issa to snare the respected Abdullah (Homayoun Ershadi); who Gunther suspects of covertly using Islamic charities to fund terrorism. Enter the CIA…

Rock photographer Corbijn’s first two films as director, Control and The American, were visually striking, and A Most Wanted Man has equally interesting work right from the opening when the lapping harbour water Issa emerges from becomes shifting whiskey in Gunther’s glass. Corbijn makes great use of shifting focus in a lengthy interrogation, stages a long-take on a ferry very disconcertingly, and hammers home the paranoia of surveillance with Niki and Maximilian’s constant unobtrusive tailing of suspects. The nitty-gritty procedural approach to intelligence work is always absorbing, and Robin Wright’s cameos as inveigling Company woman Martha Sullivan are nicely done. But the extended breaking of Annabel, even though it’s probably quite realistic, sucks all momentum out of proceedings. And then just when things have got properly tense again with Gunther laying a trap, the trademark le Carre letdown is sprung.

An emotionally devastating twist is casually thrown in, but screenwriter Andrew (Lantana) Bovell cannot salvage the unsatisfactory finale which, in typical le Carre style, ends not with a bang but a whimper. le Carre may have had the inside scoop on the Cold War when he started writing, but it’s been fifty years since Kim Philby blew his cover, and it’s hard to think of a profession less likely to spill new trade secrets to former members of the guild, so this can’t be le Carre giving us the real scoop on how post-9/11 intelligence works so much as le Carre giving us his own bleak weltanschauung. It is one he shares with Cormac McCarthy: storytellers who create protagonists and antagonists, place them in peril, but then, because they have no real interest in storytelling, lose interest in their creations.

A Most Wanted Man is a pretty good leading man send-off for Hoffman; particularly the poignant last image in which Hoffman walks out of shot and our lives; but its ending lets it down.

3/5

June 20, 2014

3 Days to Kill

Kevin Costner tries to do a Liam Neeson and escape blockbuster supporting roles by fighting international villains in Paris while looking after an estranged daughter.

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CIA asset Vivi (Amber Heard) is dispatched to Eastern Europe to kill The Wolf (Richard Sammel), who will be at a hotel overseeing a transaction by his lieutenant The Albino (Tomas Lemarquis) (yes, the names are absurd; Luc Besson spits on reality). The transaction, a dirty bomb, will be sabotaged by local CIA agent Ethan Renner (Kevin Costner), and Vivi is not to interfere. The operation, however, goes gruesomely sideways. Ethan wounds The Albino, but collapses before capturing him. Diagnosed with terminal lung cancer, Ethan retires and returns to Paris to reconnect with his estranged wife Christine (Connie Nielsen) and daughter Zooey (Hailee Steinfeld); and awkwardly share his CIA hideout with Malian squatters. But Vivi knows Ethan is the only person who can identify The Wolf. She offers an experimental drug to prolong his life in return for some freelancing…

One-man studio Besson produces demented action films: Mark Millar’s bombastic comics moments (Black Widow catching a gun dropped from a chopper above while she’s jumping between buildings in The Ultimates) threaded together with basic plotting. But 3 Days to Kill, from a surprisingly sadistic early killing, isn’t the house style of knowing nonsense and crunching violence. McG fashioned some amusing sequences in This Means War, but, bar some moments in the hotel cold open, his action directing in a washed-out Paris is not very impressive. More worryingly this is an action movie that is seriously lacking in actual action. 3 Days to Kill can come across as an early draft of Taken; written as a serious drama about estranged father-daughter parenting. Except that such ‘serious drama’ includes ludicrous unfunny business with a purple bike, and electrocuting fixers for parenting advice.

All I can think is that Besson and Adi Hasak wrote tongue-in-cheek, but, bar a pointedly directed comedy scene with a ‘real Italian’ accountant for The Albino, that tone just got lost in McG’s shooting; which prevents Mitat (Marc Andreoni) from emulating Inspector Tarconi in The Transporter. Amber Heard tragically disappears for lengthy stretches, but in her occasional appearances Besson seems to be tapping into the hypersexualised persona she’s honed in films like The Rum DiaryThe Informers, and The Joneses. Vivi’s always dressed in some sort of leather and outré hairstyle, attends Crazy Horse cabaret to flirt with naked girls, makes both driving and injecting a cancer drug seem sexual, delivers what may be 2014’s filthiest PG-13 gag, and (in what may or may not be a hallucination by medicated Ethan) does rifle drills under Roger Rabbit red spotlights.

Costner was always a still centre as a leading man rather than a warm presence like Neeson, and his tonally confused Bessoner surely won’t reinvigorate his leading man career.

2/5

April 18, 2014

Magic Magic

Juno Temple stars as an American student visiting Chile and losing her grip on reality as a result of insomnia.

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The highly-strung Alicia (Temple) arrives in Santiago to stay with her cousin Sara (Emily Browning), who is spending a year at university there. No sooner has she arrived than she’s bundled into a car with Sara’s boyfriend Agustin (Agustin Silva), his studious sister Barbara (Catalina Sandino Moreno), and their obnoxious American friend Brink (Michael Cera) for a long road-trip to an island off the Chilean coast where Agustin’s family has a holiday home. And Sara stays behind, pleading an unexpected college exam that she has to take. Alicia’s confusion, linguistic incompetence, clumsiness and insomnia see her rub everyone up the wrong way. Feeling persecuted and ever more insomniac Alicia starts to hallucinate phone conversations with Sara, imagine disapproving stares from Barbara, and even become morbidly afraid of an amorous dog. When Sara finally arrives she finds Alicia nearly unspooling completely.

Magic Magic isn’t really a horror film, but it does have elements of ‘social horror’ as Stephen King dubbed it. Early on Barbara deviously baits Alicia into patronising the marginalised of Chile, and from that moment we suspect Barbara, but are also terrified on Alicia’s behalf that she’s going to be victimised by these people as a sacrificial ugly American paying for the sins of the CIA. That things don’t work out quite so predictably is to the good. Instead Alicia’s insomnia sees her start to lose her grip on reality, and, on a more mundane and relatable level, make poor choices that compound her existing difficulties. The irony of course is that this island is beautifully photographed by Christopher Doyle and Glenn Kaplan as a paradise, but Alicia can only see its geographic isolation and its related threatening strangeness.

Temple is less over-exposed than in Killer Joe, but reprises some elements of that naïf performance. Michael Cera, however, reprises elements of his This is the End cameo to startling effect. It turns out that Cera can be skin-crawlingly creepy and his cruel capricious sexually predatory Brink is a very memorable villain that renders George Michael Bluth a distant memory. However, despite the committed performances and the patient descent into insomniac madness writer/director Sebastian Silva doesn’t really seem to know where all this is headed. A climatic sequence seems to fulfil many of the social horror elements hinted at earlier, but then peters out into an ending that may have been intended as enigmatic but just feels inconsequential. Cera, the executive producer, obviously sniffed a good opportunity to shake up his screen persona, but what is the film’s wider purpose?

Magic Magic is eminently watchable; especially if you’ve ever been thrown among strangers and had to awkwardly sink or swim socially, or lain awake for hour after frustrated hour; but it’s not essential viewing.

3/5

July 6, 2011

Top 5 Michael Caine Movies

I wouldn’t like to give the impression that I was mean-spiritedly making fun either of Michael Caine or of cockney accents in last week’s sketch, so as a gesture of atonement here’s a Top 5 of my favourite Michael Caine movies. I’ve picked only ones in which he’s the lead.

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(5) Get Carter
“You’re a big man, but you’re out of shape”, “She was only thirteen”… A movie plundered both by Rob Brydon and Steve Coogan to sharpen their Caine impressions in The Trip, and arguably by Martin Campbell and Daniel Craig to make the last image of Casino Royale iconic. This gritty thriller, which is still director Mike Hodges’ calling card, sees Caine’s implacable London hard-man Jack Carter head north to avenge his brother’s death with a shotgun. Shot in stylish long-takes with a distancing aesthetic this is an imposing British crime movie that loomed over all that followed.

(4) Educating Rita
“There is more insight in the telephone directory…and probably more wit”. Caine’s jaded English professor helps Julie Walter’s discontented housewife better herself thru an adult education course in a sparkling adaptation of Willy Russell’s play, itself almost a spin on Pygmalion. But this Henry Higgins is on a serious downward spiral; drowning in drink and self-pity in equal measures, cheated on by his wife and despising his own volumes of poetry. Caine’s showy role encompasses glorious high verbal comedy and drunken slapstick, as well as the quiet drama of alcoholic misery. This finally won him a BAFTA.

(3) The Quiet American
“Oh, shit” .Caine’s dead-pan delivery of that line is emblematic of his quiet, measured and ultimately devastating performance in Philip Noyce’s 2002 film. This subtle work is arguably the finest adaptation of Graham Greene’s work since the 1940s. Caine plays the archetypal Greene character. His foreign correspondent boasts of simply observing the chaos of 1950s Vietnam and offering no point of view, no political allegiance. An unwelcome romantic rival (Brendan Fraser’s titular do-gooder) and pressure from London to break a story sparks a belated moral engagement with the ethics of American interference, and opposition to it…

(2) Sleuth
“Be sure and tell them it was all just a bloody game!” Joseph L Mankiewicz’s riveting adaptation of Anthony Shaffer’s play sees a rich aged writer invite his young wife’s lover, a cockney hairdresser, to his rural mansion for some vindictive head-games. Caine’s regional accent and film acting technique go head to head with Olivier’s RADA accent and stage acting style in a contest Caine was easily winning till a desperate Olivier produced a moustache… If you want to empirically measure Caine’s acting ability note how Sleuth’s entire structure disintegrates in the remake because Jude Law can’t act.

(1) The Italian Job
“You’re only supposed to blow the bloody doors off!” A truly flawless film; from Quincy Jones’ impossibly catchy original soundtrack and the glorious turn by Noel Coward as the imprisoned crime-lord masterminding proceedings, to the implausible gang apparently composed solely of gay aristocrats and cockney wide-boys and the deranged Carry On antics of Benny Hill, and on to the wonderfully staged Austin Mini car-chase and the definitive cinematic cliff-hanger, it’s impossible not to sit back with a smile pasted on your face throughout as Caine motors the whole film along with a performance of winning charm.

June 2, 2011

Conspiracy Cinema at the IFI

The IFI is presenting a season of films this June playfully titled High Anxiety. As ‘filmnoia’ these are meant to encapsulate the post-Vietnam post-Watergate zeitgeist of chastened 1970s America. Invariably there is much idolatry of the faultless New Hollywood that was tragically killed off by Star Wars in this positioning, which regular readers of this blog will know I have little truck with. The truth is there are some great films here, some over-rated but good films, and by far the best film is the most defiantly Old Hollywood: The Manchurian Candidate, which is oblique in its violence, sexually charged without being sexual, and whip-smart and heart-breaking in its scripting; the kind of thing that Hitchcock might have directed on one of his darker days at the office. Let’s briefly trot thru the line-up of films in the season.

The Manchurian Candidate June 1st & 2nd @ 6:25pm

The pick of the bunch is the first out of the blocks. Catch this tonight if you can. A superb Laurence Harvey stars as Raymond Shaw, an unpopular soldier who unexpectedly returns as a war hero from the Korean War to the political machinations of his terrifying mother Angela Lansbury, a witch-hunting Senator’s wife. Frank Sinatra is his old army c/o trying to work out the mystery of just what happened in Korea that fills his men’s nightmares, and director John Frankenheimer ratchets up the tension as George Axelrod’s script satirically skewers McCarthyism while breaking your heart along the way.

Klute June 4th & 5th @ 4.50pm

Sex, lies, and audiotape. Widely regarded as the film that legitimised profanity as a hallmark of serious movies Alan J Pakula’s 1971 exercise in paranoia sees Donald Sutherland’s enigmatic small-town PI John Klute travel to the big city to investigate the possible involvement of his friend with Jane Fonda’s nervous call-girl, and her possible involvement in his mysterious disappearance. The sound design is extraordinary as ambient noise swamps the possibilities of recording the truth, and this arguably established the house-rules for all subsequent 1970s filmnoias. Keep an eye out for Roy Scheider’s ridiculous outfit in his cameo as a pimp.

The Parallax View June 6th @ 3.00pm & 7.05pm

Alan J Pakula again, this time Warren Beatty is the lead in a 1974 thriller about a journalist investigating the possibility that the powerful corporation the Parallax Organisation has been behind not only a political assassination allegedly carried out by a conveniently dead lone gunman, but the clean-up murders of all the witnesses of the assassination. The dazzling and famous highlight comes when Beatty is subjected to a test to see whether he fits the criteria for maladjusted misfit that Parallax likes to use for its lone gunmen. You know, people like say Lee Harvey Oswald, or James Earl Ray…

Chinatown June 8th @ 2.10pm & 6.30pm

If Roman Polanski’s film was just a little less self-regarding it would be a far better film noir. Jack Nicholson gives a terrific performance as the cock-sure PI suddenly out of his depth against Faye Dunaway’s ambiguous femme fatale and John Huston’s monstrous patriarch, and there are wonderful moments and lines throughout. The enormous self-importance of Robert Towne’s screenplay sinks the film from its potential heights but is unsurprising given that he reputedly told anyone who would listen that the success of the 3 hrs plus The Godfather was entirely attributable to his dialogue polish on one 3 minute scene…

The Conversation June 9th @ 6.45pm

Francis Ford Coppola’s small personal movie between The Godfather and The Godfather: Part II stars Gene Hackman as a surveillance expert who finds a simple job developing into something much more disturbing, which eventually pushes him to the very limits of his sanity. Walter Murch’s sound design is extraordinary and best appreciated on a big screen, but I’ve never thought that Coppola’s script was good at making us care about the possible murder plot Hackman stumbles upon; the physical distance his camera maintains from the camera being sadly replicated as an emotional distance maintained by the audience from the characters.

Night Moves June 12th @ 5.00pm

A staple of late-night TV schedules (TV programmers can be very easily amused sometimes) this 1975 movie sees Arthur Penn and Gene Hackman reunite for a more subdued outing than their 1967 collaboration Bonnie & Clyde. Hackman is a defeated PI who discovers his wife in adultery, but is unable to satisfactorily resolve that situation or any other case he is working on. Perhaps a lament for the lost idealism of the New Frontier in the age of Watergate, or perhaps just another deconstruction of American myths by Penn that has aged far less well than his Bonnie & Clyde.

Rollover June 18th @ 3.15pm

Yes, Alan J Pakula for a third time. He never stopped making paranoia movies, and this 1981 effort may have had the amazing good fortune to become relevant thirty years after being dismissed as pessimistic and incomprehensible, because of the second defining event of the last decade, the credit crunch. Jane Fonda stars as a company director’s widow who romances Kris Kristofferson’s financial trouble-shooter, brought in to steady the corporation, who ends up involved in an extremely risky deal with Saudi Arabia that goes belly-up in such spectacular fashion that it leads to the meltdown of the entire Western economy.

Winter Kills June 25th & 26th @2.00p

Adapted from another book by Manchurian Candidate novelist Richard Condon, this thriller stars John Huston as Not Joe Kennedy, who after 19 years is told by his son Jeff Bridges that he finally has a good lead on who really assassinated Huston’s other son, the President Not John F Kennedy. Winter Kills had an extremely troubled production, with director William Richert having one of his producers murdered, so this is a welcome chance to belatedly see Huston chewing scenery in such a ripe scenario of what could be classified alongside Inglourious Basterds as the genre of fantasy historical revenge movies.

Missing June 25th & 26th @2.50pm

Jack Lemmon and Sissy Spacek star as the father and wife of an American missing in Chile, in acclaimed Greek director Costa-Gavras’ first American film. An attack on Henry Kissinger’s brand of realpolitik, here masked by hypocritical mutterings about truth, justice, and the American Way, this vividly recreates the feel of Pinochet’s Chile; a regime enabled by CIA connivance in the overthrow of Allende’s democratically elected socialist government. There is a sense of kicking a dead donkey about this as Nixon was already out of power, but Costa-Gavras at least clothes his political points in empathetic flesh and blood characters.

X-Men: First Class

Matthew Vaughn finally gets to direct an X-Men movie, and the result is the best instalment of the X-franchise to date…

Beginning (as X-Men did) with Erik Lensherr traumatically discovering his powers of magnetism in Poland in 1944, the pre-credits sequence contrasts the parallel childhood experiences of Charles Xavier in upstate New York, where he welcomes in the young and terrified Mystique to his luxurious home, with that of Erik in a Nazi concentration camp, where Dr Schmidt sadistically hones Erik’s powers. Vaughn’s film pivots around the subsequent emotional and political developments, during the Cuban Missiles Crisis in 1962, of the events of this cold-open. Rose Byrne’s CIA agent Moira McTaggart endures Mad Men-style sexism while investigating the shady activities of the Hellfire Club. In a Mark Millar touch Vaughn and co-writers integrate Cuba into the story wonderfully, not by rewriting history but by suggesting that history as we know it is a carefully constructed cover-story to hide mutant involvement. Legendary comics villains the Hellfire Club, led by Sebastian Shaw (a nicely malevolent Kevin Bacon) and Emma Frost (an appropriately icy and under-dressed January Jones), appear to be manipulating both sides to ignite the Cold War. Moira needs help against mutants and so recruits Xavier, and subsequently Erik.

James McAvoy is yet again upstaged by someone lower-billed, because while McAvoy is very funny as a young Xavier using genetics as a chat-up routine, it pales next to the dark charisma of Michael Fassbender’s globe-trotting Nazi-hunter Erik. On seeing Xavier’s mansion Erik sardonically asks, “Charles, how did you ever survive such hardship?” The clash in philosophy between Erik and Xavier is finally given the substance it lacked in the original trilogy, and is personalised by Mystique (an affecting Jennifer Lawrence) being drawn to Erik over Xavier. Erik’s driven life is killing Nazis to avenge his race, while Xavier’s life has always been one of privilege. ‘Mutant and proud’ is a chat-up line for Xavier but, as Erik affectionately teaches her to embrace her appearance rather than hide it as Xavier wishes, it becomes Mystique’s self-definition. Erik’s quest to murder Shaw is a fulfilment of his tutelage by Schmidt, Xavier’s determination to prevent Erik the fulfilment of his compassion. Mystique must choose one philosophy…

Vaughn balances this tragedy with montages, of Erik and Xavier recruiting mutants for the CIA and training mutants at Xavier’s mansion, which are heavy on the Fassbendering. There are delightful cameos by a couple of cast members from the original trilogy as well as superb gags based on our knowledge of these characters’ futures. The action is also very well-handled with Erik’s single-handed attack on a Russian military base utterly thrilling, while an assault by the Hellfire Club on the CIA is notable for Vaughn showing real terror on the face of Xavier’s unprepared recruits, especially Mystique. The only gripe is that the second act can at times feel like two screenplays are being audibly bolted together. But these are mere quibbles when Vaughan can casually toss in an enormous shock in the finale, and then have a final scene that complicates comic-book morality as much as Kick-Ass.

There was a danger with this film’s title that critics would immediately call it second-rate at the slightest provocation; instead, it really is X-Men: First Class in every sense.

4.5/5

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