Talking Movies

July 22, 2018

Notes on Hotel Artemis

Hotel Artemis is this week’s cream of the crop for Talking Movies. Here are some notes on’t, prepared for Dublin City FM’s Sunday Breakfast with Patrick Doyle early this morning.

Drew Pearce makes his directorial debut from his own script which plays like The Purge meets John Wick’s The Continental by way of John Carpenter. There is a very classy cast, headed by Jodie Foster, and including Sterling K Brown, Dave Bautista, Sofia Boutella, Charlie Day, with Jeff Goldblum a cameo as the Wolf King. There are too many echoes, possibly because Pearce started writing this in 2012. It’s like David Cronenberg’s novel Consumed, working on it for 40 years, publishes it in 2014, and yet touchscreen smartphones and 3D printing were integral to plot, so how could he have been writing all those years? There’re some great lines, and there are delicious touches, especially the way the Wolf King’s arrival is built up, but it fails to reach top gear. The clicking of a well-made screenplay produces a certain pleasure, not unlike the teasing structure of the novel Lullaby by Chuck Palahniuk, but not here where Sofia Boutella does a half rampage. Pearce either doesn’t have the budget or the directing skill of Joss Whedon for River’s rampage in Serenity, the Firefly movie, but her dress and skills and the build-up are so similar it means it needs to pay off bigger and better than it does.

I didn’t get to chat about all of these points, but we did cover most of them. Tune into 103.2 FM to hear Patrick Doyle’s breakfast show every Sunday on Dublin City FM, and catch up with his excellent Classical Choice programme on Mixcloud now.

September 28, 2009

Pandorum

There’s an intelligent sci-fi film in here somewhere but it’s bludgeoned to death by the typical Paul WS Anderson computer game approach.

Ben Foster, Henchman of the Year in my 2007 Film Awards for his psychotic turns in 3:10 to Yuma and 30 Days of Night, graduates to leading man status and acquits himself well. However he does so in a film that lifts large chunks from Joss Whedon’s 2005 film Serenity. Perhaps the passing physical resemblance between Foster and Serenity’s Alan Tudyk saw writer/director Christian Alvart suffer some unconscious free-associating while co-writing the script about psychotic cannibals in outer space.

Foster plays the unintentionally hilariously named Corporal Bower (pronounced Jack Bauer) who awakes from hyper-sleep on the super-space ship Elysium some hundreds of years from now to find something has gone badly wrong with the power, navigation systems and crew… He wakes his commanding officer Lt Payton (Dennis Quaid) and their struggle against amnesia regarding their identities, mission, and the basic functions of the ship’s equipment is all nicely intriguing before Foster sets off on a trek to fix the nuclear reactor. At this point he meets Antje Traue, who plays the obligatory busty scientist with a tight top, greasy hair and kung-fu skills, and Cung Le, the token Asian character, who gardens when not being a ninja. Predictably enough getting to the nuclear reactor involves completing a number of levels first, sorry, navigating a number of layers of the ship.

These levels are populated by the CGI villains, who appear to have strayed in from I Am Legend, but are still terrifying. I hate fast-moving scary monsters, you should see me squirm when demons move in missing frames every week in Supernatural. Meanwhile back on the secondary bridge Dennis Quaid once again proves that he is a remarkably under-appreciated screen presence as he tries to guide Foster thru the ship, before another crew member appears… Twilight villain Cam Gigandet does surprisingly well in what is basically a two-hander against Quaid. Gigandet has a pretty boy physique but his eyes somehow always hint at something deeply sinister, a fabulous asset in a film which plays on the fact that memory-loss is endemic among the crew and no-one knows just what happened to the ship. Gigandet’s scenes with Quaid are more interesting than the running from cannibals action as they both start to get paranoid and accuse the other of suffering from Pandorum, a wonderfully conceived deep-space illness that starts as an uncontrollable twitch of the hand before escalating to a certainty that the ship is cursed leading to a suicidal mass-evacuation of hyper-sleep pods into the empty wastes of space.

Alvart’s film can be very clever, especially in its creation of a very plausible future Earth riven by conflict over food-supplies, or the tiny touch of laser-shaving, but producer Anderson’s trademark drivel sinks it.

2.5/5

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