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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November 27, 2012

An Arrow of a different colour

I root for shows to stay on the air, not least because so many shows I’ve loved (Cupid, Studio 60, Vengeance Unlimited) have been prematurely cancelled, but … I really hope Arrow gets scrapped soon.

There’s been a Smallville-sized gap in my world for a year now, and so Arrow you’d imagine would be right up my street. But it’s not, it’s really not; for many reasons, mostly to do with other programmes. Arrow is a show that seems to have been created by putting other hits in a blender, and then just running with whatever derivative gloop emerged. It would appear that the producers noticed that Revenge was popular last season and so figured they also could surf the zeitgeist and take down 99%ers every week, complete with Green Arrow drawing a line thru the name of the fat cat he’d successfully ruined; just like Emily’s crossing an X thru the face of the person in the group photo she’d destroyed at the end of early episodes of Revenge. Every time I see the Queen mansion in Arrow all I can think of is Lex Luthor’s mansion in Smallville. If it’s not actually the same exterior then it sure looks like it, and it’s just a bit distracting. Furthermore while Arrow fails to match the charm of early Smallville, it’s overdosing on the angst that soon blighted that show. 5 episodes in and Laurel Dinah Lance has already stated, for not particularly clear reasons, that she and Oliver Queen can never be together. Even though their character names make it blindingly obvious they will be, eventually. And so Clark and Lana nonsense begins anew…

But these aren’t even the most aggravating or troubling derivative elements of Arrow. The constant flashbacks, to Oliver Queen’s 5 years on a remote island where he became Green Arrow, complete with meaningful life lessons from a cryptically wise Chinese Arrow screamed LOST and that was before The Others showed up… It was bad enough having to endure a flashback vignette every week that related to the main story, but now there are well-organised and well-resourced military personnel on an island where shipwrecked survivors are hunting animals for food. These Others are led by a man with staring eyes, just like Ben Linus, who is the Big Bad of the show, not least because he has sadistic torturer Deathstroke at his disposal. And then for the final kicker it’s revealed that the Mandarin name for the island means … Purgatory. Just, no… we don’t need more LOST meanderings, six years of pointless nonsense was enough. And then there’s the Nolan riffing. In the first episode Oliver was seen at a grinder getting his weapons sharp, in a scene shot farcically like its model in Batman Begins where Bruce makes his first throwing Bats. But then a shadowed Oliver goes on to growl to Laurel about he can give her leverage for a case, just like Batman growled as he gave his lawyer love interest Rachel leverage on Judge Faden. That’d be okay if perhaps Arrow appreciated why Nolan’s Batman worked…

But Arrow doesn’t seem to have a clue as to how comic-book superheroes operate. When in the pilot Oliver Queen, out of costume, caught a criminal who’d kidnapped him and then broke his neck shouting “No one can know my secret!” it was an enormous shock, because it was such a stunning mis-step, and anti-Nolan to the nth degree despite all the borrowings from Nolan elsewhere. It was a return to the ethics or lack thereof of Tim Burton’s Batman who very deliberately murdered the Joker as well as carelessly offing God knows how many goons along the way. Green Arrow’s subsequent shooting of a corrupt tycoon with an arrow thru the hand was far nastier than Batman dropping Sal Maroni to break his ankles, because Nolan’s Batman was being forced to extremes by the Joker’s madness whereas that’s just how this Green Arrow rolls… And for all Green Arrow’s homicidal antics by the end of episode 4 he’s been arrested by the police for being Green Arrow. So his first murder was in vain… Only things get even better. You see, like The Joker, Loki and Silva – he planned on getting caught! He wanted them to lock him up in the MCU Skybase Churchill Bunker Queen mansion. Because, like The Dark Knight Rises, the important thing is not that Oliver Queen is Green Arrow but that there will always be a Green Arrow, no matter who’s under the hood…

Except, why should we care who is under the hood if he’s just a cold-blooded killer? Nolan’s Batman famously only has one rule – don’t kill people. Maim the hell out of them, by all means, but don’t kill them. Arrow seems to think it can lift huge chunks from Nolan’s Bat-verse and then also appropriate the industrial slaughter of Maggie Q’s Nikita, but Nikita comes from a dark place – that’s the character. She’s a drug addict who killed people before she got forced by the government to join a secret government agency and kill people before she went rogue and embarked on a new mission to kill bad people. Killing is an essential part of Nikita as a character, but not killing has always been an equally essential part of DC Comics’ superheroes as characters. David S Goyer noted that they very deliberately had Batman throw Joker off a building and then save him in The Dark Knight as a riposte to the end of Burton’s Batman because both he and Christopher Nolan felt that Batman killing Joker had been a terrible tonal mistake. And it was a mistake, just witness the brilliance of the scene that Batman then shares with the Joker dangling from a rope. There’s a mystical connection between those two characters that doesn’t allow for simple killing. Superman can’t simply knock off Lex Luthor, and it goes beyond the morality of the characters to a sense of epic grandeur. This isn’t just comic-book bilge incidentally, look at Albert Camus’ description in The Rebel of Spartacus seeking out his opposing number Crassus to die in single combat against him and him alone.

The amorality of the lead character who should be a straight arrow, as it were, is only one part of the problem though. Oliver Queen in Smallville was transparently a Batman substitute, but Justin Hartley’s performance as Oliver Queen/Green Arrow had a nonchalance entirely absent from Stephen Amell’s wooden earnestness in Arrow. Some of this may be due to the different functions of the character, Hartley was there for sparring with earnest Clark Kent whereas Amell as lead character to some degree is earnest Clark Kent. But Hartley’s Green Arrow had the same formative traumas in his past, and it didn’t swamp the character’s traditional sardonic nature, while Amell’s inert demeanour never allows him to convince as the party animal that makes Oliver Queen such close kin to Bruce Wayne. Nolan allowed us to see that public Bruce Wayne, private Bruce Wayne and Batman were three distinct personalities; and that private Bruce Wayne was a good man. But Arrow has failed to make private Oliver Queen much more likeable than public Oliver Queen. And this points to a bigger problem.

Thor and John Carter placed alongside Arrow seem to indicate that we are in the middle of a bona fide scriptwriting crisis. There’s a distinction between a rogue and a dick that appears to have been lost. Taylor Kitsch’s John Carter was deeply unlikeable as a hero, and the film was reduced to not only bafflingly introducing Bryan Cranston as a metaphorical cat to be saved, but then introducing an actual dog to be saved as well later, in a vain effort to get us to like Carter.  Thor meanwhile was entirely upended by the fact that Thor was a thoroughly unlikeable jerk who only became bearable in the last act of the film, which enabled the suave Tom Hiddleston as Loki to steal the entire movie as the cleverer brother forever cleaning up the messes of his petulant blowhard sibling. A classic rogue, like Han Solo, or even Ian Somerhalder’s Damon Salvatore in The Vampire Diaries, is cocky, likeable, and from the perspective of the other characters entirely unreliable, even though the audience always has a sneaking suspicion that the bad boy will come through in the end no matter how many times he weasels out on doing the right thing along the way to serve his own agenda. But Thor, John Carter, and Arrow are sunk by heroes who aren’t remotely likeable. Arrow has dropped the Green to emphasise its edginess but it’s dropped its character’s resonance too…

I’m sticking with Arrow for now to see Seth Gabel aka Jeremy Darling from Dirty Sexy Money as Vertigo, but once Gabel leaves the show I won’t be far behind.

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