Talking Movies

April 24, 2014

Tracks

The omnipresent Mia Wasikowska gets to use her own accent for a change as a real-life explorer in 1970s Australia.

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Robyn Davidson (Wasikowska) wants to be alone. And not in the ‘get out of my room/house’ Greta Garbo sense, more in the Calvin & Hobbes ‘I want to live a million miles from anyone’ way. Arriving in Alice Springs, she circles her dream of escaping into the Outback with some camels and crossing the Australian desert to reach the Indian Ocean. She slaves for German camel-trainer Kurt Posel (Rainer Bock) learning the craft, but Afghan rival Sally (John Flaus) becomes her true mentor. She says goodbye to her Pop (Robert Coleby) and sister Marg (Emma Booth), who don’t understand her motivation. Her best friend Jenny (Jessica Tovey) does, but scuppers Robyn’s desire to be alone by introducing her to National Geographic photographer Rick Smolan (Adam Driver). Along with Aboriginal elder Mr Eddy (Rolley Mintuma) Rick helps her survive the desert.

Tracks is a very well made film. Mandy Walker’s photography of the striking scenery impresses as much as her work in Australia (when Baz Luhrmann let her actually film Australia), John Curran’s direction is as measured as ever, and the use of actual grouchy camels rather than the CGI creations you’d have half-expected/feared is very refreshing. Marion Nelson’s adaptation of Robyn Davidson’s memoir, however, disappoints.  We’re teased with elliptical reveals of the reason Robyn wants solitude; but it’s a substitution of cinematic convention for true psychological probing. Jenny seems to introduce Rick to stymie what she never articulates – Robyn’s death-wish; a fear verbalised by sister Marg, who the script mocks for suburban conformity. And, as much as I Am Legend, without a faithful dog (Diggity, NCIS fans will rejoice is actually named Special Agent Gibbs), the protagonist would be toast.

Tracks could use a lot more detail on the actual practicalities of arranging the supplies for a 2,000 mile trek across a desert, and the mechanics of how navigation, establishing camp, feeding camels et al actually happens. But at the same time towards the end you get the distinct impression that Curran actually wants to make a film trippier than a PG-13 rating allows for. There’s a lot of weird nudity with Wasikowska skinny-dipping and trekking naked, shot from behind or far away, which is oddly prurient; and seems a belated attempt to depict the madness that inspired the trek as well as that inflicted by the trek. So, oddly, by charting a middle course between those two extremes of narrative technique Tracks has something to annoy everyone who wants to quibble. But there can be no quibbling about the acting. Driver is quite funny as the awkward Yank, and Flaus’ mentor is very empathetic.

Tracks is a solid, enjoyable film, but despite Mia Wasikowska’s commitment in the lead it never really catches fire.

3/5

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March 7, 2013

Parker

Jason Statham stretches his acting muscles again, but unlike last year’s  underwhelming Safe, Parker comes with a writer and director of  pretty high calibre attached.

Parker

Statham is (you’ve guessed it) Parker, who we first meet disguised as a  priest to execute a heist at the Ohio State Fair. The disguise, amusingly  enough, isn’t entirely outrageous – as Parker reveals his inviolable ethical  code: “I only steal from those who can afford it, and I only hurt people who  deserve it.” Unfortunately his father-in-law Hurley (Nick Nolte) has lumbered  him with some unethical thieves (Michael Chiklis, Clifford Collins Jr, Wendell  Pierce) who leave Parker for dead on a roadside. Parker survives and tracks them  to Florida, where he uses struggling realtor Leslie (Jennifer Lopez) to pinpoint  their location, and, in an unlikely alliance, identify their next heist. But can  Parker focus on stealing the haul and killing his betrayers when Chicago mob  boss Danziger has unleashed an assassin to eliminate both Parker and his wife  (Emma Booth)?

This is based on the Parker novel Flash Fire by Richard Stark aka Donald  Westlake, which makes you wonder (given Point  Blank) if he only had one plot:  Parker, left for dead, survives, seeks revenge. It’s a good plot, and Black Swan and Carnivale scribe John McLaughlin renders it  the kind of entertaining crime popcorn Hollywood’s fallen out of doing. Unlike  the last Stark flick Payback the  plentiful violence here isn’t sadistic; indeed the scene you’ll wincingly  remember is stunningly masochistic. The State is notably endearing as he beats  people up, is nice to dogs, and delivers the immortal threat of an agonising  death by crushing a man’s trachea with a chair with the kicker – “Plus there’s  the posthumous humiliation of having been killed by a chair.” Indeed, like Ocean’s 11, when J-Lo makes her belated  entrance it’s slightly unnecessary.

Not to imply that J-Lo’s role,  comic relief with realistic tragic undertones, is redundant; but by that point  it is extra icing on the cake director Taylor Hackford has made. Hackford uses  Palm Beach locations wonderfully as Parker realises crime cannot flourish on an  island with drawbridges, and he stages a recriminating conversation between  Parker and Hurley as dramatically as the beach argument in Rampart. The many fights are brutal enough to  keep State fans happy, and the increasing paranoia of Chiklis’ gang-leader  Melander is well justified as Parker infiltrates his preparations for a massive  diamond heist. The ice is to be fenced by Danziger’s moronic nephew Hardwicke  (Micah Hauptman, who memorably cameoed as ‘Kripke’ in Ben Edlund’s meta-madness Supernatural episode), which is why a  terrifying assassin (Matrix Reloaded  Agent Daniel Bernhardt) is hunting Parker with brutally violent grim  efficiency.

Is Parker an avenging Angel of the Lord as suggested? He certainly seems  indestructible, albeit far from invulnerable, and Parker is another fun Statham franchise that  deserves further outings.

3/5

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