Talking Movies

January 18, 2016

2016: Fears

Filed under: Talking Movies — Fergal Casey @ 8:59 pm
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13 Hours: The Secret Soldiers of Benghazi

January 29th sees the release of a small (a mere $50 million dollar) personal movie by an auteur, truly un film de Michel Bay. Six military contractors (including The Office’s John Krasinski, 24’s James Badge Dale, and The Unit’s Max Martini) make a desperate last stand when a US consulate in Libya is attacked on the anniversary of 9/11. Chuck Hogan (The Town, The Strain), of all people, writes for Bay to direct; with the resulting Bayhem being memorably characterised by The Intercept as Night of the Living Dead meets The Green Berets.

Zoolander 2

February 12th sees the release of the sequel nobody was particularly asking for… It’s been 14 since Zoolander. An eternity in cinematic comedy as the Frat Pack glory days have long since yielded to the School of Apatow; itself fading of late. Seinfeld has refused reunions noting that the concept of his show becomes depressing with aged characters, but Stiller apparently has no such qualms about airhead models Derek (Ben Stiller) and Hansel (Owen Wilson) being on the catwalk. Benedict Cumberbatch, Kristen Wiig and Penelope Cruz bring new energy, but an air of desperation/cynicism hangs over this project.

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Gods of Egypt

February 26th sees Bek (Brenton Thwaites) forced to align with Horus (Nikolaj Coster-Waldau) when the god of darkness Set (Gerard Butler) assumes control of Egypt in a truly stupid blockbuster. But not as stupid as the reception it can look forward to after Deadline’s Ross A. Lincoln wrote “based on the statuary and monuments that have survived, not to mention thousands of years of other cultures commenting on them, they definitely weren’t white people with flowing, curly blond locks, and their gods were definitely not Europeans.” Lincoln’s argument dynamites Idris Elba’s role in Thor, which is not permissible, so logically (sic) it’s now racist to not depict the Egyptian gods as Egyptian, but it’s also racist to depict the Norse gods as Norse. If the gods of Egypt ought to look Egyptian, who, that’s bankable, can play them? Amir Arison, Mozhan Marno, Sarah Shahi, and Cliff Curtis wouldn’t merit a $140 million budget. And casting them because (barring the Maori Curtis) they hail from nearer Egypt than Gerard Butler, but are not actually Egyptian, is itself racist. Does Alex (Dark City) Proyas, who hasn’t directed anything since 2009, really deserve this firestorm for just trying to work?

Hail, Caesar!

The Coens stop writing for money and return to directing on March 4th with a 1950s Hollywood back-lot comedy. A lighter effort than Barton Fink, this follows Josh Brolin’s fixer as he tries to negotiate the return of George Clooney’s kidnapped star from mysterious cabal ‘The Future’ with the help of fellow studio players Channing Tatum, Alden Ehrenreich, and Scarlett Johansson. The relentlessly mean-spirited Inside Llewyn Davis was a surprise aesthetic nadir after True Grit’s ebullience, so we can only hope the return of so many of their repertory players can galvanise the Coens to rediscover some warmth.

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Batman V Superman: Dawn of Justice

Zack Snyder gave us the neck-snap heard around the world in Man of Steel. On March 25th he continues his visionary misinterpretation of Superman, and can also ruin Batman, Wonder Woman, Lex Luthor, Alfred Pennyworth, and Doomsday. Ben Affleck and Jeremy Irons entice as Bruce and Alfred, and Affleck has undoubtedly got the script punched up by inserting his Argo scribe Chris Terrio into the mix, but Snyder is still directing. How Snyder ever got the keys to the DC cinematic kingdom is amazing, but when if he blows this he cripples The WB.

The Neon Demon

Keanu Reeves made a comeback in 2015 with John Wick and Knock Knock. But can he impart some of that momentum to Nicolas Winding Refn to help him recover from the unmerciful kicking he got for Only God Forgives? Refn is working on a third of Drive’s budget for this horror tale of Elle Fanning’s wannabe actress who moves to LA, to find her vitality drained by a coven led by Christina Hendricks. Details are very sparse, other than that it’s about ‘vicious beauty,’ but this could be intriguing, blood-spattered, gorgeous, and enigmatic, or a total fiasco…

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The Avengers 3 Captain America: Civil War

Anthony and Joe Russo, the directors who gave you the worst choreographed and edited fight scenes you’d ever seen in Captain America 2, return with …more of the same, because why bother doing it better when you’ll go see it anyway? May 6th sees Mark Millar’s comic-book event become a camouflaged Avengers movie as Robert Downey Jr and Chris Evans’ superheroes fall out over the fate of Sebastian Stan’s reformed Bucky. Expect incomprehensible fights, the occasional decent action sequence, wall to wall fake-looking CGI, and more characters than Game of Thrones meets LOST.

Snowden

The master of subtlety returns on May 12th as Oliver Stone continues his quest to make a good movie this century. His latest attempt is a biopic of NSA whistleblower Edward Snowden (Joseph Gordon-Levitt), whose distrust of the American government should be catnip to Stone’s sensibilities. Zachary Quinto is journalist Glenn Greenwald, Shailene Woodley is Snowden’s girlfriend, and supporting players include Timothy Olyphant, Nicolas Cage, and Melissa Leo. Expect a hagiography with stylistic brio, and no qualms about whether the next large building that blows up might be on Snowden for blowing the lid on how terrorists were monitored.

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X-Men: Apocalypse

Oscar Isaac is Apocalypse, the first mutant, worshipped for his godlike powers, who awakes in alt-1980 and turns Magneto (Michael Fassbender) to the dark side as one of his Four Horsemen alongside Psylocke (Olivia Munn), Storm (Alexandra Shipp), and Angel (Ben Hardy). James McAvoy loses his hair from the stress of being upstaged by the powers of Jean Grey (Sophie Turner) and the ever-increasing star-power of Jennifer Lawrence. Director Bryan Singer’s return to the X-fold in 2014 was a triumph, but rushing this out for May 27th invites disaster; can enough time really have been spent on scripting?

Warcraft

Duncan Jones completes the Christopher Nolan career path by moving from Moon to Source Code to Warcraft. June 10th sees Vikings main-man Travis Fimmel daub on blue face-paint as Anduin Lothar. The battle with the Orcs has an interesting cast including Ben Foster, Toby Kebbell, Paula Patton, Dominic Cooper, and the great character actors Clancy Brown and Callum Keith Rennie. But its greatest strength is also its greatest weakness. Has there ever been a truly great adaptation of a computer game to a movie? And if Warcraft’s a good movie that’s unfaithful to the game will gamers stay away?

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Finding Dory

June 17th sees another unnecessary unwanted sequel to a beloved early Zeroes film. Why exactly do we need a sequel to Finding Nemo? Besides it being a post-John Carter retreat into an animated safe space for director Andrew Stanton? Marlin (Albert Brooks) sets out to help forgetful Dory (Ellen DeGeneres) find her long-lost parents, who are voiced by Diane Keaton and Eugene Levy. Other voices include Ty Burrell as a beluga whale, Kaitlin Olson as Dory’s whale shark adopted sister, and Ed O’Neill as an ill-tempered octopus. Stanton is writing too, but can aquatic lightning really strike twice?

Star Trek Beyond

Star Trek marks its 50th anniversary with this reboot threequel on July 8th, but the recent trailer didn’t whet any appetites. Despite having Furious maestro Justin Lin in charge and Simon Pegg as the final writer on a script with 5 credited scribes the footage was solely notable for (a) Kirk’s bad hair (b) a vaguely Star Trek: Insurrection with gaudier colours vibe (c) forced attempts at humour. Star Trek Into Darkness was a frustrating exercise in creative cowardice, a flipped photocopy of Star Trek II. Let us hope this time originality has been actively sought out.

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Ghostbusters

July 15th sees… another reboot. Paul Feig couldn’t stow his ego and just direct Dan Aykroyd’s Ghostbusters 3 script, so… “REBOOT!”. Kate McKinnon and Kristen Wiig are great, but Feig wrote this with Katie Dippold (who penned his execrable ‘comedy’ The Heat) so it won’t be. Feig’s drivel about gender-swapping hides an obvious truth. The Ghostbusters were all male because Akyroyd and Ramis wrote for themselves, SNL pal Murray, and Eddie Murphy; when Murphy dropped out, Zeddmore’s part shrank as his jokes were redistributed. Feig’s Ghostbusters are all female to cynically reposition attacks on his creative bankruptcy as sexism.

Doctor Strange

November 4th sees Benedict Cumberbatch swoosh his cape as Stephen Strange, (That’s Dr. Strange to you!), an arrogant surgeon taught magick by Tilda Swinton’s Ancient One. Director Scott Derrickson is perhaps hoping to mash his resume of Sinister and The Day The Earth Stood Still, especially as Sinister co-writer C Robert Cargill has polished this. Mads Mikkelsen, Chiwetel Ejiofor, and Rachel McAdams co-star, but before we get excited, this is Marvel. Marvel took the outré world of comic-books and cinematically rendered it as predictable, conservative, self-aggrandising, boring tosh. How off the leash do you bet Derrickson will get?

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The Death and Life of John F. Donovan

Kit Harington is the titular movie star who is undone when Jessica Chastain’s gossip columnist reveals his correspondence with a young girl, and an unreasoning witch-hunt begins. And it’s the first movie written and directed by Xavier Dolan in English! So, why Fears not Hopes, you ask? Because Dolan in a BBC Radio 4 interview expressed nervousness that he didn’t instinctively understand English’s nuances the way he did with French, and because with big names (Susan Sarandon, Kathy Bates, Michael Gambon) comes pressure to tone down material and make a commercial breakthrough.

Rogue One: A Star Wars Story

Didn’t you always desperately want to know the back story of that throwaway line about how brave rebels died to smuggle out the plans for the Death Star? … Whaddya mean ‘No’?!! Do you have any idea how much money Disney has on the line here?? You damn well better develop an interest by December 16th when Oppenheimer of the Empire Mads Mikkelsen has a crisis of conscience and enlists the help of his smuggler daughter Felicity Jones. Disney paid 4 billion for the rights to Star Wars, they retrospectively own your childhood now.

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September 30, 2015

The Martian 3-D

Director Ridley Scott tacks away from the Erich von Daniken-inspired marvel of nonsense that is the Prometheusverse for a cracking foray into hard science sci-fi.

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Ares III astronauts carry out their varied tasks on the surface of Mars, until a storm unexpectedly lethally strengthens. Commander Lewis (Jessica Chastain) leads her crew; Martinez (Michael Pena), Johanssen (Kate Mara), Beck (Sebastian Stan), Vogel (Aksel Hennie); from their quarters, the Hab, through the blinding sandstorm to their ship, which blasts off just before it would’ve tipped fatally off-balance. But Mark Watney (Matt Damon) is left behind, killed by flying debris. NASA director Teddy Sanders (Jeff Daniels) leads mourning for Watney, but when Mars maven Vincent Kapoor (Chiwetel Ejiofor) convinces him to pinpoint Watney’s corpse via satellite, Sat Operator Mindy Park (Mackenzie Davis) discovers Watney’s still alive. Teddy, Vincent, PR director Montrose (Kristen Wiig), and Ares director Mitch (Sean Bean), agonise over the ethical and logistical quandaries of a rescue mission, while Mark uses his wits to colonise Mars.

It’s a bold move to start with the evacuation: imagine Zemeckis cutting the lead-in to the plane crash in Cast Away. But it works because it so quickly funnels us to NASA, and the personalities who will decide Mark’s long-term future as he ensures his short-term survival. This is probably the most consistently funny film Scott’s ever directed, courtesy of Drew Goddard’s adaptation of Andy Weir’s novel. Goddard knowingly pushes ratings boundaries with Mark’s cursing, and renders Mark’s never-ending vlog a series of riffs and one-liners. But it’s not a one-man show. Prometheus’ Benedict Wong is wonderful as Bruce, the Jet Propulsion Lab director given impossible deadlines and tasks, Davis breaks out from indies (What If, Bad Turn Worse) to share archly comic moments with Ejiofor, Pena delivers another assured turn, while Daniels and Bean duel with gravitas and humour.

Sunshine showed one mistake creating dilemma after dilemma. The Martian shows a series of problems to be solved with a can-do spirit, and it’s nice to see characters mentally calculating trajectories, accelerations, and chemistry problems. Arguably this actually realises Tomorrowland’s stated intention to restore technological optimism to the popular imagination. Although the valorisation of science is complicated when you realise Mark only survives because his potatoes were not genetically modified to be barren… The sacrifice on the altar of Blake Snyder’s beats annoys, but Mark’s slight hubris and its inexplicable random flashing ‘Malfunction’ sign mitigate. It also makes the finale very tense because statistically something ought to go badly wrong after that long in space. Cinematographer Dariusz Wolski, a regular Scott collaborator, renders Earth in blue tones, Mars in red, and the Ares III in white; emphasising the different environments.

Ridley Scott has become a seriously prolific director this century, and on the evidence of this triumph he ought to sign Drew Goddard to write all his future films.

5/5

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.

January 27, 2015

Top Performances of 2014

As the traditional complement to the Top 10 Films, here are the Top Performances of 2014. The refusal to isolate single winners is deliberate; regard the highlighted names as top of the class, the runners up being right behind them, with also placed just behind them. They’re all superb performances.

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Best Supporting Actress

Patricia Arquette (Boyhood) Arquette’s character grows older but not wiser, instead we see her becomingly increasingly brittle as even she realises that she’s sensible about everything except her romantic choices.

Carrie Coon (Gone Girl) Forming a great double act with Ben Affleck, Coon broke out from theatre with a glorious turn as his twin sister– the foulmouthed and spiky voice of reason.

Jennifer Lawrence (American Hustle) Lawrence was perhaps too young for the part, but she played it with such comic panache that her sporadic appearances energised an overlong film.

Runners Up:

Maggie Gyllenhaal (Frank) Gyllenhaal was pitch-perfect as scary obscurantist Clara, with wonderful nuance in the slow reveal of how such off-kilter music bonds her and Frank’s damaged and isolated psyches.

Mackenzie Foy (Interstellar) Foy was bright, furious, and resentful, and blew Jessica Chastain off the screen as the younger iteration of their character, the indomitable Murph.

Sarah Paulson (12 Years a Slave) Paulson’s casual brutality towards slaves was deeply shocking, but her horror at being replaced sexually by a slave subtly underscored her menace.

Also Placed:

Amber Heard (3 Days to Kill) Parodying her hyper-sexualised persona (The Informers) Heard, in leathers and wigs, flirted with burlesque girls and sexualised both driving fast and injecting medicine.

Joey King (Wish I Was Here) Pitted against Zach Braff’s glibly sarcastic agnosticism the sincerity of King’s adherence to Jewish faith, language, and cultural identity blew him off the screen.

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Best Supporting Actor

Jared Leto (Dallas Buyers Club) His character’s drugs spiral, even as his friendship with Ron becomes beautiful, was extremely moving, with his fierce commitment extending to deliberately ravaging his appearance.

Michael Fassbender (12 Years a Slave) His vicious bible-thumping alcoholic was terrifying, but also complex; slaves are either sub-human or masters are guilty, and Epps is self-destructing from mercilessly exploiting his slaves.

Ethan Hawke (Boyhood) Hawke physically filled out in a career-best performance of serious comedy as deadbeat dad whose rebelliousness was an affectation thrown off for mellow acquiescence with the world.

Runners Up:

Andrew Scott (The Stag, Locke) Scott was their sole highlight: his Locke vocal performance exuded excitability and exasperation, while Davin was a man fatally wounded by romantic rejection being tortured some more by his ex-girlfriend.

Killian Scott (Calvary, ’71) His Calvary misfit Milo was dementedly funny in rambling frustration, and he so transformed into ruthless IRA leader Quinn that he seemed not only older and tougher, but almost taller.

Zac Efron (Bad Neighbours) Efron’s previous subversions of his image were nothing next to this jackpot: his squeaky clean looks have never been put to such diabolical and hilarious use.

James Corden (Begin Again) Corden not only frequently gave the impression that he was ad-libbing great comedy moments, but also that he was improvising Knightley into unscripted corpsing bonhomie.

Dave Bautista (Guardians of the Galaxy) Bautista took what could have been a tiresome running gag and instead by dedicated deadpan made utter literalness to the point of insanity infinitely unexpected and hysterical.

Also Placed:

Adam Driver (What If, Tracks) Sparring against Mackenzie Davis and Daniel Radcliffe in What If he was highly amusing and occasionally sagacious, and was both funny and adorably awkward in Tracks.

Gene Jones (The Sacrament) He was patently playing Jim Jones, and turned the charisma up to 11 for a TV interview that was so mesmerising it explained Father’s cult of personality.

Mandy Patinkin (Wish I Was Here) Patinkin brought deep humanity and biting humour to his wise, religious father disappointed by his glib, agnostic son but delighted by his bright, devout granddaughter.

Tyler Perry (Gone Girl) The man can actually act! And as celebrity defence attorney Tanner Bolt he transformed the oily character from the novel by bringing palpable warmth to the part.

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Best Actress

Keira Knightley (Begin Again) Knightley sang rather well, but not only did she carry a tune she also carried the movie with a return of her old confidence. Maybe all that’s needed to restore the old swagger is James Corden ad-libbing her into improvising so she forgets her stage-fright.

Mackenzie Davis (We Gotta Get Out Of This Place, What If) Her What If wild child was oddly reminiscent of Katy Perry, albeit interpolated with Daisy Buchanan, and was strikingly different from her reserved bookworm subtly using her wits to escape a noir nightmare in We Gotta.

Runners Up:

Rose Byrne (Bad Neighbours) It’s always a joy when Byrne gets to use her native Australian accent, and she swaggered with such foul-mouthed comedic assurance that at times Seth Rogen became her foil as the sensible one in their marriage.

Agyness Deyn (Electricity) Deyn was a commanding presence. She grabbed with both hands this defiant character, who wears short dresses and fluorescent jacket; drawing the eye to a body covered in cuts; and had no vanity in showing these effects of seizures.

Also Placed:

Juno Temple (Magic Magic) Temple reprised some elements of her naïf in Killer Joe, though thankfully she was less over-exposed here, and made her character’s steady descent into insomniac madness chillingly plausible.

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Best Actor

Matthew McConaughey (Dallas Buyers Club) McConaughey’s physical commitment to the role was jaw-dropping, initially rake-thin before then wasting away before your eyes to harrowing effect. Initially unsympathetic, he patiently revealed the hidden softer side which engaged Dr Eve, and beautifully developed an unlikely and most affecting friendship with Rayon.

Runners Up:

Daniel Radcliffe (What If) Radcliffe is sensational as the hero who’s crippled romantically by his traumatised desire to act ethically. A Young Doctor’s Notebook served notice of his comedy chops, but combining uncomprehending deadpan and dramatic sharpness this was a comic role of unexpected substance.

Mark Ruffalo (Begin Again) It’s hard to imagine anyone else, save 1973 Elliot Gould, pulling off this role quite as well. The Ruffalo exudes immense shambolic charm, shuffling about in scruffy clothes, doing permit-free guerrilla location live music recording that would make Werner Herzog proud.

Dan Stevens (The Guest) The Guest is a high-risk gamble that would fail spectacularly if its leading man was not on fire. Luckily for all concerned Stevens burns a hole in the screen with a Tom Hiddleston as Loki level performance – playing scenes tongue-in-cheek serious as the charismatic helpful stranger.

Also Placed:

Ben Affleck (Gone Girl) Affleck as an actor too often contentedly coasts, and (even when gifted zingers as in Argo) acts as a still centre. But, with Fincher pushing him with endless takes, he was fantastic as the hapless everyman; who we root for despite his flaws.

Pal Sverre Hagen (Kon-Tiki, In Order of Disappearance) The imposing Norwegian perfectly captured old-fashioned grit, naive enthusiasm, and quiet heroism as Thor Heyerdahl, and then played crime-lord The Count as an epically self-pitying vegan equally stressed by divorced parenting with his ex-wife, and a nasty turf war with Serbian mobsters.

January 23, 2015

A Most Violent Year

1981 was the worst year on record for violent crime in New York City, and that threat hangs over director JC Chandor’s absorbing period drama.

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Abel Morales (Oscar Isaac) is a driven entrepreneur in the business of supplying the oil that gets New York thru its winters. He is buying a coveted piece of real estate from a Hasidic dynasty, but needs an awful lot of money to cover the sale or he loses his huge deposit and the tract of land; and with it the chance to trump his rivals. But things are unravelling. The government in the form of Lawrence (David Oyelowo) is ready to indict his business practices, somebody – possibly his rivals Peter Forente (Alessandro Nivola) and Gleen Fleshler (Arnold Klein) – are hijacking his trucks and stealing his oil, his protégé Julian (Elyes Gabel) has been severely injured in one of these jackings, and Teamster Peter Gerety (Bill O’Leary) is threatening a strike if Abel doesn’t arm his vulnerable fleet of drivers.

A Most Violent Year despite the menacing title isn’t a violent film. But from the outset, when you realise that driving a truck thru a toll-booth can lead to getting jumped, it has an unnerving tension. JC Chandor sets his film in 1981 New York, and seemingly sets out to replicate the 1970s New Hollywood in doing so. Frank G DeMarco who shot Chandor’s previous films Margin Call and All is Lost with a crisp clarity is replaced as cinematographer by Bradford Young. I raved about Young’s atmospheric under-lighting of Ain’t Them Bodies Saints, and here he channels 1970s DP Gordon Willis (aka Prince of Darkness) for rich, underlit interiors of browns and dark gold. And if certain scenes look like The Godfather then Oscar Isaac is on the same wavelength as a certain Pacino quality comes off his performance.

But this is Michael Corleone determined to remain on the straight and narrow. Abel’s wife Anna (Jessica Chastain in 1980s mobster moll mode) is the daughter of a connected man, but Abel is adamant that he wants to win by staying clean. Such morality confuses his attorney Andrew Walsh (Albert Brooks), who foresees disaster if Abel doesn’t learn to play dirty in a bent town. The control on display by writer/director Chandor is intimidating. This is a very precise film. Even action scenes, like a thrilling truck chase in a tunnel, feel exacting; and a foot-chase along a spaghetti junction with a steadicam recalls Marathon Man. But, as with Paul Thomas Anderson’s Inherent Vice, there’s a point at which this Biskind-led valorisation of New Hollyood becomes crippling. How can you make it new, as Pound demanded of art, if you’re in thrall to making it like they did in 1975?

Chandor is an intriguing film-maker – he’s made three films, all wildly different, but each time characterised by singular vision.

4/5

November 10, 2014

Interstellar

Christopher Nolan redeems himself after the patchy The Dark Knight Rises with a hard tack into heavy-duty theoretical sci-fi in a mind-bending, oddly abstract blockbuster.

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The McConaissance continues as Matthew McConaughey takes on the role of Cooper, a Texan engineer and pilot turned farmer in the near future. Cooper’s is a self-professed caretaker generation, trying to eke a subsistence living from a devastated planet with a collapsed population. Indeed Cooper’s daughter Murph is subjected to some Orwellian education about the futility of technological civilisation. But among the cornfields stalked by blight and storming dust-clouds there are still some people who dream big: NASA in hiding. Michael Caine’s wise professor and his icy daughter Brand (Anne Hathaway) convince Cooper to pilot their last ditch Lazarus mission, to travel through a wormhole next to Saturn in an attempt to find a new home for humanity. But as Cooper leaves an inconsolable Murph behind him, and joins fellow astronauts Doyle (Wes Bentley) and Romilly (David Gyasi), he finds that the search for humanity’s salvation seems oddly underpinned by losing all traces of humanity…

Interstellar is a bold change of pace for the Brothers Nolan. The script, written by Jonathan Nolan and then reworked by Christopher, sketches in this future world in the manner of a John Wyndham novel; taking for granted that we know about the macro which we actually only learn about when it impacts the micro world of Cooper and Murph. This leads to some double-take moments, such as Bill Irwin’s comic relief, which are amplified by Nolan’s insistence on secrecy. Some familiar faces appear to shocking effect, which would be dissipated by mentioning them; but among them is a cheerful cameo from William Devane aka 24’s President Heller. Interstellar could best be described as a version of Sunshine written not by Alex Garland, but instead boasting a screenplay by Rod Serling based on a story outline by Carl Sagan. Hard science of a theoretical bent mixes with a soured vision of humanity’s worst tendencies being dominant.

Interstellar is unlikely to get as fond a welcome as previous Nolan movies, but it does have much in common with them; from the Twilight Zone finale like The Prestige, to simultaneous set-pieces as adult Murph (Jessica Chastain) and Cooper wrestle with similar dilemmas like Inception. Hans Zimmer’s score avoids nearing Richard Strauss’ template by borrowing Arcade Fire’s Neon Bible organ and plugging it into a million IMAX amplifiers; achieving solemnity (without melody) by dint of volume. The replacement of Wally Pfister as DP by Hoyte van Hoytema doesn’t jar, but the changeover is aided by the fact that a very different cinematic world is being captured than that of the Nolan/Pfister paradigm. Nolan wrings good performances from his large cast, with Mackenzie Foy blowing Jessica Chastain off the screen as the younger iteration of the indomitable Murph, and McConaughey counteracting the heartless science of the Brand family with the emotional sensitivity of the Coopers.

Interstellar walks a tricky high-wire, attempting to create a heart-rending family saga dependent for its emotion on theoretical physics being literalised in a way that defeats traditional blockbuster visuals.

4/5

January 28, 2014

2014: Hopes

Filed under: Talking Movies — Fergal Casey @ 3:58 pm
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The Monuments Men

George Clooney stars, co-writes with Grant Heslov again, and directs what seems like a promising mash-up of The Train and Ocean’s 11, arriving sometime in February. Somewhat based on fact, a crack team of art experts and soldiers are assembled in the dying months of WWII to try and rescue priceless works of art from wanton destruction at the hands of nihilistic Nazis. The team includes regular Clooney cohort Matt Damon and the great Cate Blanchett, alongside the undoubtedly scene-stealing comedic duo of Bill Murray and John Goodman, and oddly Jean Dujardin. Can Clooney pull off a more serious art heist from Nazis caper? Fingers crossed he can.

The Grand Budapest Hotel

Wes Anderson returns in March, apparently in thrall to Lubitsch and Lang. Edward Norton did so well in Moonrise Kingdom that he’s invited back alongside Bill Murray, Jason Schwartzman, Tilda Swinton, and Owen Wilson. Newcomers are Ralph Fiennes, Saoirse Ronan, Jude Law, Mathieu Amalric, and F Murray Abraham. Fiennes is the legendary concierge of the titular hotel in inter-war Europe, where any gathering storms are ignored in favour of absurd murder plots, art thefts and family squabbles gone mad, as Fiennes gives his lobby-boy protégé an education in dealing with the upper classes which he’ll never forget; if they escape a sticky end long enough to remember.

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Veronica Mars

AW YEAH!! It was cancelled in 2007 but Kristen Bell’s iconic teen detective snoops again as creator Rob Thomas sends NYC legal eagle Veronica back to sunny Neptune to attend her high school reunion. Present and correct are friends Mac (Tina Majorino) and Wallace (Percy Daggs III), nemesis Madison (Amanda Noret), and frenemy Dick (Ryan Hansen). Dad Keith (Enrico Colantoni) remains a sage, warning against the obvious peril of insipid boyfriend Piz (Chris Lowell) being replaced in her affections by roguish ex Logan (Jason Dohring), who is once again accused of murder and asking for V’s help. Please let the sparks of ‘epic love’ spanning ‘decades and continents’ rekindle!

Frank

Lenny Abrahamson is the opposite of a Talking Movies favourite, but he’s teamed up with the favourite di tutti favourites Michael Fassbender. Thankfully Abrahamson’s miserabilist tendencies and agonising inertness have been put to one side for this rock-star comedy co-written by journalist Jon Ronson, a man with a verified eye for the absurd having written The Men Who Stare at Goats and The Psychopath Test. The original script loosely based on a cult English comic musician follows wannabe musician Jon (Domhnall Gleeson), who discovers he’s bitten off more than he can chew when he joins a pop band led by the enigmatic Frank (Fassbender) and his scary girlfriend Maggie Gyllenhaal.

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Captain America: The Winter Soldier

Literally everything I loved most about the original disappeared with the time-jump. So the major attraction of April’s sequel isn’t Robert Redford as a shady new SHIELD director, but Revenge’s icy heroine Emily VanCamp as the mysterious Agent 13. Samuel L Jackson’s Nick Fury and Scarlett Johansson’s Black Widow regrettably take the place of Tommy Lee Jones and Hayley Atwell in support, but Anthony Mackie as sidekick Falcon is a major boon. The real worry is that directors Joe and Anthony Russo (You, Me and Dupree, yes, that’s right, that’s their resume) will be intimidated by their budget into endless CGI action and precious little else.

X-Men: Days of Future Past

I’m excited and nostalgic, because May 23rd sees the arrival of the X-3 we deserved, but never got. Bryan Singer returns to the franchise he launched for one of Claremont/Byrne’s most famous storylines. In a dystopian future, where mutantkind has been decimated by the Sentinels of Bolivar Trask (Peter Dinklage),Kitty Pryde (Ellen Page) Wolverine (Hugh Jackman – this is a movie, not a comic, it’s all got to be about Wolverine!) is sent back into the past by Professor X (Patrick Stewart) and Magneto (Ian McKellen) to alter history by rapprochement of their younger selves (James McAvoy, Michael Fassbender). Jennifer Lawrence co-stars, with every X-Men actor!

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22 Jump Street
A proper summer blockbuster release date of June 13th for this sequel recognises the hilarious success of the absurd original. Schmidt (Jonah Hill) and Jenko (Channing Tatum) (or was it the other way round?) go undercover in college to crack another drug ring, and once again their fantastic bromance starts to crack under the strain. The original’s unwieldy team of writers and directors are back, as are Ice Cube, Nick Offerman, Rob Riggle and Dave Franco. Amber Stevens and Wyatt Russell are the college kids, but sadly Brie Larson is absent. Jonah Hill appears in full goth gear, which seems to suggest that the absurdity levels remain healthy.

The Trip to Italy

It’s not clear yet if we’ll get this as an abridged film or just be treated to the full version as 6 episodes on BBC 2. In either case Steve Coogan and Rob Brydon reunite to play heightened versions of themselves as they bicker their way around restaurants in Italy for the purposes of writing magazine reviews. 2010’s endearing roving sitcom The Trip, with its competitive Michael Caine impersonations was a joy, and director Michael Winterbottom takes the show on tour here. And no better man for the job, as this originated with their duelling Al Pacinos at the end of his A Cock and Bull Story.

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Magic in the Moonlight
Woody Allen’s latest should hit our screens around September. This time round the cottage industry is giving us a period romantic comedy, set in the south of France, which takes place in the 1920s and 1930s. The cast is as usual intimidating: Emma Stone, Colin Firth, Marcia Gay Harden, the imperious Eileen Atkins (one of the few actresses capable of domineering over Judi Dench), and Jacki Weaver. Will F Scott and his ilk make an appearance? Who knows! There are no details, just stills of open-top cars, drop waists, and cloche hats so this could be a close cousin of Sweet & Lowdown or Midnight in Paris.

Gone Girl

The start of October sees the great David Fincher return, with his first film in three years, and it’s another adaptation of a wildly successful crime novel. Nick (Ben Affleck) and Amy (Rosamund Pike) are seemingly the perfect couple, but when she disappears suddenly on their 5th wedding anniversary, Nick becomes the prime suspect as he discovers his wife told friends she was scared of him. Could he have killed her? Or is the truth far more twisted? Gillian Flynn has adapted her own work, and, incredibly, penned an entirely new third act to keep everyone guessing. The unusually colourful supporting cast includes Neil Patrick Harris and Patrick Fugit.

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The Interview
The pitch is that an attractive talk show host and his producer unwittingly get caught up in an international assassination plot. So far so blah, if that was say Ben Stiller and Owen Wilson directed by Shawn Levy, except that the host is actually James Franco, the producer is Seth Rogen, the interview is in North Korea, and the awesome Lizzy Caplan is the rogue femme fatale CIA agent who drags them into all sorts of mischief. And it’s written and directed by Rogen and Evan Goldberg who distinguished themselves with 2013’s best comedy This is The End. This is very likely to mop up the non-Gone Girl audience.

Interstellar

Christopher Nolan tries to redeem himself after TDKR with a small personal project, taking the same release date as The Prestige did. Well, small, in that the WB needed Paramount to stump up some cash for it, and personal, in that Spielberg spent years developing it; albeit with the assistance of Jonathan Nolan. Scientists attempt to observe a wormhole into another dimension, and that’s about all we know, other than vague speculations about ecological crises. Matthew McConaughey 2.0 stars alongside Anne Hathaway, Casey Affleck, Matt Damon, John Lithgow, Jessica Chastain, and, yes, Michael Caine – who is now as essential a part of the signature as Bill Murray for Wes Anderson.

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The Hunger Games: Mockingjay – Part I

Jennifer Lawrence goes for third biggest hit at the North American box office for the third year in a row with her latest turn as rebel heroine Katniss Everdeen on November 21st. Having survived the Quarter Quell and the destruction of her District, she discovers President Snow has Peeta hostage, and that the rebellion has a leader, President Coin (Julianne Moore), ready to embark on a full-scale bloody war of rebellion against the Capitol. Recount writer (and Buffy shmuck) Danny Strong is the new screenwriter, and Elementary star Natalie Dormer joins the cast, but director Francis Lawrence remains in situ, with his considered visual style.

September 5, 2012

Lawless

Director John Hillcoat reunites with his The Proposition screenwriter Nick Cave for another brutally violent piece of period film-making about savage brothers.

Virginia in 1931 finds the real-life Bondurrant brothers Forrest (Tom Hardy), Jack (Shia LaBeouf), and Howard (Jason Clarke) thriving in the wettest county in Prohibition America. Boardwalk Empire’s bootlegging looks understated by comparison with the Christmas tree appearance at night of this locale as illicit stills fire up to make liquor with the full conniving permission of the local law. A tough federal agent Rakes (Guy Pearce) arrives to stamp out bootlegging, or rather restrict it to those who pay off the new and viciously corrupt DA. Local legend Forrest is unwilling to do so, and, being reckoned indestructible, doesn’t think Rakes can force his hand. But when Rakes declares war Maggie (Jessica Chastain), the new waitress at the Bondurrant diner, and Jack’s polio-stricken friend Cricket (Dane DeHaan), as well as Jack’s girlfriend Bertha (Mia Wasikowska) are more vulnerable targets…

John McGahern said that fiction operated under the burden of having to be plausible, when life could be as implausible as it liked because it was real. Despite being based on a true story it is implausibility that sinks this film. What appears to be a huge shock killing, in a scene worthy of The Godfather, transpires to be a truly bizarre refusal to shock. The finale is then marred by the equally unlikely survival of another patently fatal injury. Cave inserts some delightful touches in the soundtrack, listen for the bluegrass version of The Velvet Underground’s ‘White Light/White Heat’ sound-tracking a bootlegging montage, and his interesting collapsing of time with the new preacher’s flock, who could as easily be a flock from the 1860s, is reminiscent of Marilynne Robinson’s Gilead. This film’s problems, however, largely stem from his screenplay.

Lawless is inhabited by ciphers rather than characters. Jason Clarke’s Howard is totally undeveloped, while an oddly-made-up Guy Pearce is underused as a psychotic dandy. Gary Oldman’s gangster Floyd Banner really only has three scenes, as if his sole purpose was to remind us, with a machine-gunning scene and a good rant, that Oldman used to be the crazy villain of choice once. Hardy’s character is given to grunting rather than talking, and, while Hardy actually makes this expressive, it leads to a ridiculously gratuitous scene with Jessica Chastain which feels like a dramatic jump-start for a romance Cave couldn’t be bothered to write. And that’s before the film loses interest in Forrest in favour of young Jack’s attempts to both romance the preacher’s daughter Bertha and outdo Forrest in the bootlegging stakes with the help of his friend Cricket who has an unexpected talent for souping up car engines…

Lawless prioritises unrelenting violence over character development and leaves very good actors trying to flesh out characters the script has left un-nuanced.

2.5/5

December 5, 2011

Terrence Malick’s Upas Tree

Gladstone in the Disestablishment debates of 1869 was fond of referring to the Irish Church as the Upas Tree, a popular contemporary botanical metaphor based on an Indonesian plant that poisoned everything else that tried to grow in soil around it even as it thrived…

I’m tempted to rename The Tree of Life to Terrence Malick’s Upas Tree because I’ve been complaining for a while that a too rigid adherence to an eminently predictable three-act structure is a major source of Hollywood’s current woes, and that loosening up the structure of mainstream cinema would be an exciting development, only for Malick to drive audiences demented with his unstructured rambling magnum opus. During the summer reports of walk-outs, sarcastic laughter, ironic applause, and worse floated in from all quarters as responses to Malick’s film. I heard of three men getting as far as the appearance of the dinosaurs before one went, “Ah, here. Scoops?”, and they just got up and left. I was at one of the last screenings in the IFI in its tiny second screen in the afternoon with an audience of Malick devotees. I’d been trying to concentrate on just luxuriating in the visuals of the creation of the universe montage and trying not to think too critically about it. The choral soundtrack got louder and louder and I was thinking about how on earth Malick was achieving this, was he adding in extra singers for each verse, when a man a few seats down from me turned to say to the woman next to him, “Oh, this is just pretentious f****** nonsense! It really is…” Unfortunately, in a hilarious occurrence straight out of the Hitchhiker’s Guide to the Galaxy film, at that precise moment the soundtrack went mute and his shouted whisper bounded around the entire room and was heard by everyone. You could feel the audience stiffen in their seats, some offended by this philistinism, but many more I think suddenly roused, out of somnolent acceptance of Malick’s montage as Art, back into consciousness and a critical evaluation of what the man had just said – and do you know what, I swear that I felt most of the audience suddenly silently agree and think, “It is pretentious f****** nonsense, isn’t it?!”

The first 30 minutes of the film are largely dispensable, as are the last 20 minutes. The creation of the universe montage is not art but empty bombast masquerading as profundity, while the end of the movie hilariously resembles an advertisement for life insurance as white-suited people walk around a beach smiling beatifically at each other. There is a decent movie buried in between these two extremes about a 1950s Texan adolescence, but it’s not a great movie. It wouldn’t be great, even if you could unearth it, because the central child becomes a deeply unpleasant protagonist who, in shooting his guitar-playing brother in the finger out of jealousy and spite that this bonds the younger brother to their music-loving father, approaches borderline psychosis. The most egregious failures in The Tree of Life are the least mainstream elements, while what little that works does so because it’s mainstream. Just like Let the Right One In critics have been praising as creative ambiguity what is in fact terrifying vagueness. I was stunned to discover in the credits that Fiona Shaw was the children’s grandmother, from the movie that’s not at all obvious, she appears to deliver a horrendous line to Jessica Chastain merely as an awful neighbour who is quite rightly never seen again by the family. As for what happened to the brother…as with people reading meanings into 2001 that they got from Arthur C Clarke’s novel, people saying the brother obviously committed suicide only think that from knowledge of Malick’s own life. It is not in the movie. Sean Penn is absolutely right in saying he doesn’t even know why he’s in the movie, but his comments about a dense and beautiful script which does not appear on screen are infuriating because they suggest that Malick once again signed people up for one film and then shot too much unscripted, irrelevant, but pretty material and edited together from endless incoherent footage an entirely different, philosophically slight, and inferior work.

Malick’s ideal viewer would appear to be an agoraphobic shut-in, with no access to the many nature or physics documentaries on TV. Be brutally honest and you will admit that the creation of the universe montage is so deliberately vague in its focus on the micro rather than the macro that if you didn’t know what it was beforehand you’d be unlikely to find out from watching it. The mind boggles that Doug Trumbull was involved in making that sequence as it’s inferior to depictions of the self-same cosmic events on most television documentaries. The dinosaurs are more convincing than Terra Nova’s creatures but they’re curiously inert so let’s not kid ourselves that the CGI is that much better than the Discovery Channel benchmark. An even greater problem is Malick’s apparent belief that pointing the camera upwards at the slightest provocation plus blasting majestic John Tavener choral works at ear-splitting volume equals Transcendence. Do you ever look up at a tall building, feel dwarfed by it, and go ‘whoa’? Do you sometimes walk around after heavy rain to appreciate how all the foliage looks somehow greener? Do you occasionally look up at the sunlight coming thru the leaves of trees in dappled patterns? Do you always slow down when walking so as not to scare a wild animal in order to fully appreciate stumbling across it by observing it? Congratulations, you have reached a state of deep commune with nature that Malick thinks few people ever have. Worse still, the great philosopher-poet of cinema, as the adulatory reviews would crown him, spends two and a half hours in tangentially making the point that Moulin Rouge! only needed a rhyming couplet to deliver – ‘The greatest thing you’ll ever learn, is just to love and be loved in return.’ The conflict between Nature and Grace outlined in voiceover by Jessica Chastain at the beginning needs dialogue to be developed. Instead Malick thinks he can explore it with clichéd and irrelevant nature imagery.

My objections to the idea that complex ideas can be communicated visually rather than verbally are old, but watching this movie I also discovered something new. I am so decadent as to require a smidgen of narrative amidst visual paeans to the beauty of nature. This is why I dub what Malick has produced an Upas Tree. He may bask in the glory of his film being a philosophical masterpiece saturated with, and directing people’s attention to, the beauty of nature, but anyone else attempting to throw away the three-act structure will now be instantly reminded that The Tree of Life proves that you can’t abandon it and be stopped dead in their tracks. Hunger may have rewritten the possibilities of cinema, but it retained the bare bones of a three-act structure to supply narrative momentum, and realised that one extended dialogue scene discussing ideas could support far more screen-time devoted to art installation style visual explorations. The Tree of Life though eschews either that sense of narrative drive or that necessity for dialogue in the exploration of ideas, and by its failure seems to proclaim that abandoning the three-act structure is not the way to go, and, at a time when its detailed proscriptions badly need re-inventing, that makes me mad. Steve McQueen’s work seems to demonstrate that the classic three-act structure is not always necessary, but some semblance of artistic purpose is indispensible. Graham Greene’s definition of a film as a series of particular images assembled in a particular way to achieve a particular effect still holds true. One could contrast McQueen’s tightly controlled visions with Malick’s free-for-all ‘shoot everything and find the movie in the editing room’ approach. The true contrast between them though is that McQueen finds beauty in the mundane and ugly, so that you go ‘whoa’ watching a floor being disinfected, while Malick finds beauty in the beautiful – which recalls Joyce’s dismissal of Lady Chatterley’s Lover as propaganda for that which needs no propaganda…

Terrence Malick is now making two more films rather quickly. He may have deeper philosophical messages to impart from his life experience, I certainly hope he does, but I think he would be well advised to re-watch his debut Badlands and remind himself that having a sense of narrative drive, be it e’er so dreamy is not a bad thing.

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