Talking Movies

July 13, 2017

Taking Stock of Keanu

7 years ago to the day I wrote a piece on how Keanu Reeves, then 45, was dealing with mid-life cinematically. I think it’s time to check on Keanu again.

In the distant halcyon past of 2004 I wrote a profile of Keanu Reeves for the University Observer. He had just declined Superman for Warner Bros when I wrote that profile, and in 2010, not having any currently lucrative franchise, I said he’d be now be considered about 20 years too old to even audition, and George Reeves be damned.  In the Observer piece I’d cryptically noted that “The 40s is the decade where film stars have their last big roles”, but lacked the space to really flesh that out. Somebody, perhaps Barry Norman, had suggested Hollywood leading men lose their cachet on hitting 50, so their 40s are the years where they have both the maturity and the box-office clout to take on the roles for which they will be best remembered. Think John Wayne (Red River, Fort Apache, She Wore a Yellow Ribbon, Sands of Iwo Jima, Rio Grande, The Quiet Man, The Searchers), Gregory Peck (Moby Dick, The Big Country, On the Beach, The Guns of Navarone, Cape Fear, To Kill a Mockingbird), Michael Douglas (Romancing the Stone, Fatal Attraction, Wall Street, The War of the Roses, Basic Instinct, Falling Down). It seems a good enough theory.

Between 2004 and 2014 Keanu appeared in Constantine, Thumbsucker, The Lake House, A Scanner Darkly, Street Kings, The Day the Earth Stood Still, The Private Lives of Pippa Lee, Henry’s Crime, Generation Um…, Man of Tai Chi, 47 Ronin, and John Wick. Like Jack Nicholson in the 1980s he’s not been afraid to play supporting parts. His gleefully self-parodic performance in a glorified cameo in Thumbsucker as a zen orthodontist who spouts Gnostic nonsense to the titular hero is by far the best thing in Mike Mills’ first movie. His turn in Rebecca Miller’s Pippa Lee is also a joy, as his middle-age failed pastor and failed husband screw-up embarks on a tentative romance with Robin Wright’s eponymous character that may just redeem them. Keanu’s sci-fi films, Scanner and Earth, struggled to find large audiences. Richard Linklater’s roto-scoped adaptation of Philip K Dick’s novel is a good if odd film but Robert Downey Jr’s manic turn eclipses everything else, while Earth is a serviceable Christmas blockbuster in which Keanu nicely plays the emerging empathy with humans of the alien with awesome powers but the film struggles to truly justify remaking the revered original for the sake of CGI destruction sequences.

As far as leading dramatic roles go Street Kings’ Tom Ludlow must rank as one of his best characters. Ludlow is ‘the tip on the spear’ of the LAPD, a blunt instrument who stages ‘exigent circumstances’ to act on his Dirty Harry impulses and kill the worst criminals. Wrongly implicated in the murder of his former partner he jeopardises an elaborate cover-up by his friends in his single-minded search for the cop-killers, his unstoppable thirst for answers acting as a tragic flaw which reveals that his violent tendencies have been exploited by smarter people. Beside that career highlight The Lake House can seem insubstantial although it is a very sweet entry in the lengthy list of Keanu’s romantic dramas, while Constantine stands out commercially as the franchise that never was… Keanu’s chain-smoking street magus John Constantine bore little resemblance to Alan Moore’s comics character but it powered a supernatural thriller with exquisitely deliberate pacing, courtesy of future Hunger Games main-man Francis Lawrence; making his directorial debut. Utilising what Lawrence has since spoken of as the twilight zone between PG-13 and R it had a fine sense of metaphysical rather than visceral horror, and was Keanu’s best film since The Matrix.

And then came John Wick

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February 10, 2016

Deadpool

Seven years later Ryan Reynolds gets to play Deadpool properly, but X-Men Origins: Wolverine is neither forgotten nor forgiven in this uproarious scabrous assault on cliché, and the fourth wall.

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Deadpool begins with a credits sequence insulting all the crew (save the writers), and listing not actors but their tokenistic functions (British Villain, Hot Chick). Riffing on Batman Begins’ chronology we begin with Deadpool (Ryan Reynolds) shooting the breeze with cabbie Dopinder (Karan Soni) before a massive motorway bloodbath, and get his origin story in flashbacks between arguments with Colossus (Stefan Kapicic) and Negasonic Teenage Warhead (Brianna Hildebrand) over said bloodbath. Once mercenary Wade Wilson did bad things to worse people for money, hung out in a merc bar run by Weasel (TJ Miller), and hooked up with equally abrasive hooker Vanessa (Morena Baccarin). Then, attempting to beat terminal cancer, he said yes to a recruiter [‘Agent Smith’] (Jed Rees), and ended up being forcibly mutated by sadistic Ajax [Not his real name] (Ed Skrein) and Angel Dust (Gina Carano).

And lo, Deadpool… His mask looks like Spider-Man’s but there’s an R-rated lip under it; quipping about genre clichés, and anything else he might want to rip. There’s an Adult Swim vibe to proceedings, think Robot Chicken and The Venture Brothers: sarcastic questioning of the safety of Professor X’s mansion getting the immortal reply [from now Russian Colossus] “Please… house blowing up builds character,” Stan Lee making his most unlikely cameo ever, and Deadpool mumbling “It’s weird. This house is really big but there only ever seems to be the two of you in it. It’s almost like the studio couldn’t afford another X-Man…” FX’s Archer [Corinth is famous for its leather!] is also present spiritually in a festive sex montage [International Women’s Day – Ouchie!] and the abusive Archer/Woodhouse dynamic between Deadpool and his elderly blind housemate Al (Leslie Uggams).

Alas, the Fourth Wall. [And good riddance…] It never stood a chance against Rob Liefeld and Fabian Nicieza’s creation. Imagine Seths Rogen and Green riffing over the first Wolverine and you’re close to how Deadpool feels. Deadpool’s origin is V’s in V for Vendetta, but such rehashing doesn’t matter because this movie knows the perfect Iron Man film would be all Tony Stark, no Iron Man. Deadpool’s fights are nifty, but the draw is the scatological absurdities director Tim Miller has Reynolds and Miller improvise over Rhett Reese and Paul Wernick’s script. Superhero landings, female superhero costumes, Hollywood; nothing is off limits [“Looks are everything! Do you think Ryan Reynolds got this far based on his acting technique?”]. Especially Hugh Jackman and the first Wolverine; there’s an inexplicable flight deck in a scrap yard in order to parody its finale.

Guardians of the Galaxy sprinkled absurdity over stale MCU story structure, but Deadpool mocks what little structure it doesn’t discard. Not since Wanted has a comic-book movie swaggered so unpredictably, and it’s to be hoped people respond to this the way they didn’t to Scott Pilgrim. We need more.

5/5

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.

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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.

January 8, 2016

Bret Easton Ellis: Page to Screen

Bret Easton Ellis has written seven books, four have been filmed, and two of those have been set in Los Angeles. And yet they are by far the weakest of the Ellis adaptations… Here’s a teaser of my piece for HeadStuff on those adaptations.

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“I stand back from the unfinished canvas. I realise that I would rather spend my money on drugs than on art supplies” – The Rules of Attraction (novel)

While Hollywood was premiering his debut, mangled to appeal to perceived Reaganised teenagers, Ellis published his sophomore novel The Rules of Attraction, in which the influence of Reaganism is present in the Freshmen wanting a weight room and vetoing Louis Farrakhan as a speaker. Camden College life in the 1985 Fall term is narrated in short vignettes by Sean Bateman, Paul Denton, Lauren Hynde, and some secondary characters. An unreliable picture emerges from their overlapping experiences at parties, cafeteria lunches, hook-ups, classes, and trips to town. Denton narrates a secret affair with Bateman, Bateman narrates a minor friendship with Denton, Bateman and Lauren hook up for a disastrous relationship which both record very differently, and Bateman’s secret admirer (who he thought was Lauren) kills herself when he sleeps with Lauren. STDs and abortions are the frequent price of the casual sex merry-go-round of Camden’s never-ending party, and Lauren pays in full. Ellis’ dialogue is a marvel, with one-liners aplenty in concisely captured conversations, while the trademark pop culture references (everybody is listening to Little Creatures) are married to more nuanced narration. Denton, the most self-aware and self-critical character, eschews auditioning for the Shepard play because his life already is one. Spielberg is memorably critiqued for being secular humanism not rigorous modernism, but mostly these intelligent characters play dumb because excess is what’s expected.

“What does that mean? Know me? Know me? Nobody knows anyone else. Ever. You will never, ever know me” – The Rules of Attraction (film)

Pulp Fiction co-writer Roger Avary adapted and directed the novel, and Ellis dubbed the 2002 film “the one movie that captured my sensibility in a visual and cinematic language.” The rise of independent cinema meant Avary could cast James Van Der Beek as Bateman without bowdlerising the novel. The film is alternately shocking (it opens with the rape of Shannyn Sossamon’s Lauren), hilarious (Denton [Ian Somerhalder] and Dick [Russell Sams] perform an entirely improvised dance to ‘Faith’ in their underwear), and romantic (an extended split-screen sequence shows Bateman and Lauren finally meeting at their Saturday morning tutorial). Avary stylishly plays out the climactic ‘End of the World’ party from three viewpoints before winding back to the start of term, and situates Camden in a temporal twilight zone; with broadband internet but a 1980s soundtrack of The Cure and Erasure. Avary radically changes Lauren’s character, by throwing many of her traits onto loose roommate Lara (Jessica Biel). Lauren is now a virgin, waiting for Victor to return from Europe, whereas in the book she waited on Victor while sleeping with Franklyn. From being a mirror of Bateman, who sleeps with her friend while being in love with Lauren, she becomes a Madonna. There’s no longer an alienated road-trip with Sean ending with an abortion, just as Sean’s affair with Denton is reduced to one split-screen scene implicitly showing Denton’s fantasy. Avary’s changes make more violent and consequential Bateman’s successive breaks with Lauren and Denton, when she tells Bateman he will never know her, and he repeats her lines to Denton. Denton and Lauren’s snowy encounter after the ‘End of the World’ party, scored by Tomandandy with electronic eeriness, becomes a haunting summation: “Doesn’t matter anyway. Not to people like him. Not to people like us.” Lauren’s momentary self-condemnatory thought, unsaid in the novel, is spoken and brings things close to Gatsby’s “careless people … they smashed up things and creatures and then retreated back into their money.”

Click here to read the full piece on HeadStuff.org.

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.

December 3, 2014

Trailer Talk: Part III

In another entry in this occasional series I round up some trailers for some of next year’s most anticipated films.

Jurassic World

Jurassic Park is now a heritage title. This is like launching Jaws: Feeding Frenzy in 1997, with Jaws III in 1983 having been the last instalment. A whole generation has gone without a Jurassic Park release. They have no loving nostalgia for the original (especially its extensive model-work), or partial fondness for its sequel (“Oh yeah. Ooh, aah, that’s how it always starts. Then later there’s running and screaming” and Spielberg’s delirious appropriation of Hitchcock’s 39 Steps scream), or bad memories of the final barely-scripted disaster. Chris Pratt’s hero seems to be combining the personae of Goldblum and Neill, which is an interesting move, and velociraptors running disinterestedly past him in their desire to escape the new hybrid dinosaur recalls a Whedon line about when scary things get scared… But, Bryce Dallas Howard’s career hasn’t lived up to her assured lead debut in The Village, and there’s a tough act to follow in Richard Attenborough’s Richard Hammond as orchestrator of the madness; not least as the swooping shots of the park (which I swear are the same as in The Hunger Games and The Phantom Menace) make plain that the original’s grounding CGI in tactile reality is passé.

The Avengers: Age of Ultron

Well this trailer carries bizarre echoes of The Dark Knight’s teaser at this time of year in 2007… Talk of how a superhero how has changed things, even if he doesn’t want to admit it, and how the supervillain will show him something – even James Spader’s voice slurs into Heath Ledger’s Joker delivery. Just like the original’s trailer, a city-wide apocalypse is some broken windows, flipped cars, and screaming people. A major let-down in The Avengers was its inability to depict an all-out onslaught, but nobody else cared – so here we go again. I found The Avengers pretty damn dull. It wasn’t the laugh-fest it was vaunted as; Guardians of the Galaxy is far funnier; it delivered only moments of memorable action, and balancing all the characters’ screen-time was tragic given that (prior to the Hulk-out) it only took flight when Robert Downey Jr was onscreen. The Person of Interest season 2 finale just aired on RTE 2, and Jonathan Nolan’s parade of awesome comic-book moments there shames not only the pedestrian Agents of Shield but also Marvel’s films which are becoming increasingly joyless as they become ever more obviously formulaic franchise-connecting CGI-laden corporate exercises.

Star Wars VII: The Force Awakens

Andy Serkis narrates some vague mumblings; because this is a teaser trailer; and the internet explodes with the idea that Benedict Cumberbatch has stowed away in the Millenium Falcon. He’s not. The internet is torn into two between the usual illiberal liberal lynch-mobs on Twitter and Star Wars fanatics trying (quite logically) to comprehend how John Boyega can be a Stormtrooper if Temuera Morrison was cloned to be the genetic exemplar for all the Stormtroopers. The prequels are no longer canon (thank God!) perhaps? All that needs to be said about the 60-second trailer is that it looks like more like a Star Wars film than the last three Star Wars films. If Abrams is throwing the prequels into the dustbin alongside every novel since 1983 it’s all to the good – the prequels showed what happens when everyone knows what happens. Indeed his own Star Trek sequel showed how paralysing the fear of total originality can be in this corporate climate. I’m still terrified that one of the big three returning characters is going to be offed as a plot point (par Blake Snyder), but I can live with threat for the pause after “and the light…” and the subsequent John Williams orchestral blast for the Millenium Falcon roaring over Tatooine. Fun has returned.

August 31, 2013

On Ben Affleck Being the Batman

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I’ve been musing with John Fahey about Ben Affleck returning to blockbuster leading man roles by playing Batman, and I feel Affleck’ll probably nail it.

I was, of course, initially disappointed by the casting announcement. But not for the same reason that most people who vented their spleen early on seemed to be disappointed/outraged. It seems harsh on the great Joseph Gordon-Levitt to have spent an entire bloody film being taught how to be the Batman by Christian Bale only to be shafted immediately by Warner Bros at his first chance to be the Batman. The hysteria surrounding Affleck’s casting struck me as very odd; like many people were still stuck in 2003 and reeling from the awfulness of Gigli and Paycheck. Announcing Affleck as the lead in Batman Begins back then, well, yes – outrage entirely justified. But this is 2013, the second act of Affleck’s cinematic life. Have people forgotten Hollywoodland, Gone Baby Gone, The Town and Argo only months after everyone loved him for accepting the Academy’s snub to his directing with dignity?

Ben Affleck has much in common with the equally maligned Mark Wahlberg. They are not the greatest actors in the world, but they’re certainly not bad actors. Yes, they can be acted off-screen by most any actor willing to stop yawning on set and make the effort. But that willingness to be out-acted is important, they provide an invaluable still centre. John C Reilly appeared at Trinity College a few years back and recounted bullying a theatre director into finally giving him the lead in a Restoration comedy, only to be bored silly on realising Congreve gave the best lines to supporting characters. Reilly’s function was to hold the chaos of the comedy together by being the still centre; and he immediately returned to his comfort zone of playing one of the supporting characters upstaging the romantic lead. Wahlberg and Affleck have given memorable supporting turns (The Departed, I Heart Huckabees, Good Will Hunting,Hollywoodland), but as leading men they don’t mesmerise; but that’s not necessarily always bad. Argo couldn’t support Goodman, Arkin & Cranston’s scenery-chewing profane quipping without Affleck quieting it, and The Fighter’s Bale, Adams & Leo OTT-competition would’ve gone into low-earth orbit without Wahlberg’s stoicism grounding it.

And Batman is, to a large degree, cinematically a still centre. The complaint oft made of Bat-movies – that the villains always walk off with the film – is exactly the complaint you’d expect to recur if a character is a still centre enabling craziness around him. (Affleck suddenly sounds like a very good fit…) Batman’s strength derives in part from his silence. Ninjas aren’t chatty. He lurks in shadows, and pounces on people when they least expect it. Batman doesn’t say much; he just appears and beats people up, that’s what makes him intimidating – he’s almost a pure physical presence to criminals, even those who never encounter him but whose imaginations he vividly inhabits. And in the comics even in the privacy of his own thought bubbles he usually thinks like Hemingway clipped some of the floweriness off of Raymond Chandler prose. And if you’ve read Jeph Loeb’s Hush and Superman/Batman you’ll note that a lot of Batman’s dialogue is sarcastic commentary on Superman’s problem-solving abilities. That sounds a lot like Affleck’s main function in Argo.

But whither Ben Affleck as Bruce Wayne? He can’t very well play a billionaire playboy as a still centre, can he? Well, Christian Bale has hammered home the difference between private and public Bruce Wayne so this shouldn’t actually be that major a problem. It would, after all, feel like a waste of everyone’s time to have Robert Downey Jr play public Bruce Wayne the way he plays Tony Stark and then morph into terse earnestness for the other two parts of the Bat-persona. Affleck’s performance in The Town is probably a good model for his private Bruce, and if Argo cohort Bryan Cranston really is playing Lex Luthor then life as public Bruce Wayne gets a lot easier for Affleck as he can bounce quips off a fellow billionaire with whom he has existing good comic chemistry. Even if Cranston’s not Lex, Affleck has absurdly essayed an appropriately insouciant charm. Imagine a combination of Affleck’s Click ad for Lynx, his role in Argo, and the end narration of Daredevil and you have his Batman.

And that’s not bad. With the juvenile Zack Snyder directing it’s the Batman we deserve, but not the one we need right now probably the best we could hope for.

April 27, 2013

Iron Man 3

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Robert Downey Jr returns as Tony Stark and reunites with director Shane Black for an overdue tilt at Iron Man’s greatest comics foe, The Mandarin.

Black playfully opens with an extended flashback to Downey Jr Tony at the height of his partying. In Switzerland for New Year’s Eve 1999, he plays a cruel prank on crippled scientist Aldrich Killian (Guy Pearce) and seduces brilliant scientist Maya Hansen (Rebecca Hall). Christmas 2012, however, finds Tony suffering anxiety attacks about The Avengers, his chauffer promoted to head of security Happy (Jon Favreau) harassing everyone about authorisation badges, and his girlfriend Pepper (Gwyneth Paltrow) turning down a business proposal from a now able-bodied Killian that seems to incorporate Hansen’s Extremis research into limb regeneration in plants. Killian’s shady associate Eric (James Badge Dale) arouses Happy’s suspicions, but Tony just obsessively tinkers on new versions of his suit; until a media-hijacking terror campaign by The Mandarin (Ben Kingsley) literally jolts him out of his comfort zone into fighting for survival.

Black provided Downey Jr with the definitive iteration of his persona in 2005’s Kiss Kiss Bang Bang, but his script  with Drew Pearce only intermittently reaches such heights. Black returns Tony to essential characterisation: a genius inventor who needs to invent quickly, without resources, to save his skin. Tony’s PTSD, after some initial sombreness, is largely played for laughs; especially in scenes with Harley (Ty Simpkins), a helpful kid he meets in small-town Tennessee while following up a clue Happy found. The Tennessee sequences feature fantastic moments as Black pushes the envelope on Tony’s abrasiveness. Once Tony returns to the fray in Miami Black punctuates the escalating action with hilarious undercutting, and one spectacular scene straight out of his customary playbook. But these are touches invigorating a formulaic script (which features an outrageously obvious climactic twist) rather than a page-one subversive deconstruction of superhero cliches.

Dale is very menacing as an Extremis supervillain – combining regenerative powers with super-heating abilities. Dale’s henchman outshines his boss, as Pearce’s part begins ridiculously and never gains either true menace or grandiosity, despite delivering an unexpected shock. Pearce is dwarfed by a Fassbendering Kingsley, who finds very surprising comedy in The Mandarin, despite having a traumatising scene where he tests the President (William Sadlier) live on TV. Hall is sadly underused and Don Cheadle’s Colonel Rhodes is misplaced by the script for most of the second act, but Paul Bettany has fun as malfunctioning computer Jarvis and Paltrow belies her status as America’s most hated celebrity with another charming turn as a Pepper tougher than hitherto. The standout aerial sequence is very exciting, but, once again, the frenetic finale degenerates into wall-to-wall CGI mayhem that defeats emotional engagement.

Downey Jr and Black don’t deliver as much fun as hoped for, but this is an entertaining instalment of Marvel Studio’s only indispensable franchise.

3/5

April 10, 2012

Miscellaneous Movie Musings: Part III

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As the title suggests here are some short thoughts about the movies which aren’t quite substantial enough for each to merit an individual blog posting.
 
Fear of Marketing
In a nigh endless series of blogs last year about the state of Hollywood I noted the utter laziness of marketers when it came to doing their job. To wit, their reluctance to actually market something from scratch; they’d far rather market something that someone in the past had managed to make a successful brand than make something a successful brand themselves – which one might have imagined was what they were paid for. Anywho, I laughed hysterically when I discovered that The Avengers had actually been re-titled for the British and Irish market (we’re hard to tell apart apparently) as Marvel Avengers Assemble. Obviously Marvel Avengers Assemble is funny in its own right as a ludicrously clumsy title. Far funnier though is the idea that The Avengers, a show which ended its 9 year run in 1970, and which, even if one counts its second incarnation in the late 1970s as The New Avengers, has been off-air for over 30 years is considered to have such abiding brand strength that a $100 million marketing budget can’t defeat it. Apparently the marketers have decided that bus posters, Tube posters, cinema trailers, bus-stop posters, TV spots, huge outdoor advertising hoardings, radio spots, and endless media interviews across radio, print, digital, and TV won’t be enough to get punters to comprehend that The Avengers starring Robert Downey Jr and Scarlett Johansson will not feature Downey Jr in a bowler hat wielding an umbrella, even if it might admittedly feature Johansson in tight leather kicking people. I’ve started thinking about other films that have titles that could equally profit in the renaming stakes from such fear of confusion. Perhaps The Magnificent Seven in order to avoid confusion with The Seven Samurai could be re-titled Seven Gunslingers Assemble for the Japanese market.
 
Not all taglines are coherent
At the risk of harping on about this lack of effort on the part of people supposedly in charge of enticing us to the cinema, did anyone else raise an eyebrow at the tagline for Chronicle? ‘Not all heroes are super’. It’s meant to be enticingly dark; implying this is a movie about people like Fassbender’s Magneto. But…think about it for a second. ‘Not all heroes are super’. Yes, obviously. Heroes generally tend not to be super, but just ordinary people. Well, ‘ordinary’ in the sense that they are usually charismatic, have an exceptionally developed skill (like archery, or even just running like Dustin Hoffman in Marathon Man) or are an intellectual or practical genius, with a sound moral compass; even if rusty. The tagline meant ‘Not all super-humans are heroes’, but that’s not a good tagline, even if it accurately expresses the intended meaning.

December 20, 2011

On Doubting The Avengers

I can’t get excited about The Avengers, allegedly the biggest or second biggest film of 2012 depending on who you talk to, even though it should be catnip to me.

The Avengers consists of one successful film franchise, Iron Man, two newly launched franchises (that with their Norse Gods magic as opposed to super-science technology don’t really synch with the interior logic of the successful franchise), Thor and Captain America, and one franchise that has failed to launch, twice, Hulk. That mixture just does not cry out for a super-team-up super-franchise. If in 1991 John McClane and Riggs & Murtagh had joined forces for a super-team-up action-movie buddy-cops super-franchise, Die Hard with a Lethal Weapon, it would have made far more commercial sense than Marvel foisting The Avengers on us.

Commercial sense (and interior logic) aside I have grave screenwriting concerns about the movie. Does anyone really think that one film can successfully contain so many characters? Think about it. Iron Man, Captain America, The Hulk, Thor, Nick Fury, Black Widow, Pepper Potts, Agent Coulson, Loki and The Krulls. What exactly can be done in 2 hours in terms of actual story once you’ve finished establishing ground rules for all those characters (in case some people, as is highly likely, missed some of their cinematic instalments), introduced Hawkeye and somehow not made him ridiculous, and given the stars ego-balanced arcs?

If by some miracle you manage to synch all the fictive micro-universes together into one coherent macro-universe, and massage all the egos involved in juggling several franchise characters, what villains are you left with after the customary slaughter of bad guys in the denouements of the existing franchises? The Krulls. Oh, great. What works well in comics doesn’t necessarily work well in cinema. The Krulls immediately invoke the Mission: Impossible 2 peril. If everyone in every scene could really be someone else wearing a mask then you cease to emotionally invest in anything that happens because it mightn’t be real.

Given these problems does anyone really think that co-writer/director Joss Whedon has it in him to pull this off? Whedon has after all directed only one two film, which had a fraction of the budget and star power of The Avengers, while his most recent filmed screenplay has been sitting on a shelf for over a year, allegedly while the studio debates whether to convert it into 3-D because all horror films have to be in 3-D now. Paranormal Activitys rake in the money without being in 3-D which leads to the suspicion the studio thinks The Cabin in the Woods sucks just as much as Buffy Season 8. Whedon apologised for that arc (so awful that Wolves at the Gate, the largely stand-alone volume written by his Cabin co-writer Drew Goddard, is the only remnant worth salvaging) citing unlimited VFX giddiness…

Thus giving Whedon an unlimited special-effects budget, without Goddard’s counter-weight, may be as counterproductive as giving Richard Kelly the money he always needed to ramble on about aliens, time-travel, philosophy, and water.

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