Talking Movies

April 28, 2019

Keanu Reeves at the Lighthouse

Filed under: Talking Movies — Fergal Casey @ 1:44 pm
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

The Lighthouse cinema is gearing up for something called Keanurama, a whole season of films starring the inimitable Keanu Reeves. Talking Movies‘ reaction to this news could only be captured by one word – whoa.

There is a veritable feast of Keanu Reeves on offer here, from his team-ups with Winona Ryder in Bram Stoker’s Dracula, A Scanner Darkly and Destination Wedding to his 1990s-defining action movies Point Break and Speed, from his indie classics River’s Edge and My Own Private Idaho to his mainstream hits Parenthood and Devil’s Advocate, from his original breakthrough Bill & Ted movies to his recent John Wick comeback trilogy.

John Wick & John Wick: Chapter 2 DOUBLE BILL

May 10th

Keanu had three movies (Henry’s Crime, Generation Um…, Man of Tai Chi) that didn’t make Irish cinemas but made one hell of a comeback as the principled hit-man universally beloved in the hit-community, the larger underworld, and the small town he retired to. Keanu’s stunt-work was an endearing mix of fluency and occasional rustiness, and he made us love Wick as he rampaged after the mobsters who killed his puppy. The flabby sequel expanded the Man from UNCLE-like Continental universe too much, but featured some memorable fights; especially the Wellesian throwdown with Ruby Rose.

Destination Wedding

May 10th

Fellows 1990s icon and latterly cinematic exile Winona Ryder made her great comeback in Stranger Things in 2016 so it was only fitting that she would reunite for a third time with Keanu in this 2018 rom-com by Mad About You writer /director Victor Levin about two misanthropes travelling to a hopelessly pretentious destination wedding and being lumbered with each other there. In a curious twist it seems that this film, just like 2017’s similarly themed rom-com Table 19 about the people you invite to weddings and seat far away to avoid them, hides some very formalist experimentation behind innocuous trappings.

Bram Stoker’s Dracula

May 10th

Keanu and Winona’s first film together saw them gamely battle with cut-glass English accents as married couple Jonathan and Mina Harker for Francis Ford Coppola’s curate’s egg of a horror movie, that aspires to great fidelity to its source text even as screenwriter James V Hart makes sweeping inventions about reincarnated immortal beloveds so that Gary Oldman’s rejuvenating Count can lust over Winona. Roman Coppola rummages thru the Old Hollywood playbook for practical magic, and Sadie Frost and Monica Bellucci go all out for eroticism, but despite an impressive ensemble (including Anthony Hopkins as Van Helsing) this never catches fire.

John Wick: Chapter 3 – Parabellum

May 15th

Legendary hit-man and lover of dogs John Wick is excommunicado, having conducted business on Continental property. Now Ian McShane has given Keanu one hour’s grace in which he must fight his way out of New York with a $14 million contract on his life and every assassin in the Five Boroughs eager to collect. The production photo of a besuited Keanu riding a horse thru NYC has already taken on a life of its own, and we’re promised an equally tantalising samurai sword fight on motorbikes, as well as a detour to Africa with ally Halle Berry.

Speed 35mm

May 25th

Die Hard cinematographer Jan De Bont made an auspicious directorial debut with this high-concept action blockbuster about a mad bomber targeting an LA bus that has to stay above 50mph in a city known for its congestion. The leads Keanu and Sandra Bullock strike sparks, Jeff Daniels and Joe Morton are terrific in support, and Dennis Hopper chews the scenery as the crazed bomber – sorry, he’s not crazy, “poor people are crazy, Jack, I’m eccentric” – delivering witticisms from the pen of Joss Whedon. Mark Mancina’s score is a triumph of urgency and elation as Keanu attempts to save the day.

A Scanner Darkly 35mm

June 1st

Richard Linklater adapted Philip K Dick’s hallucinogenic novel using his favoured animation technique, rotoscoping, to create a uniquely hellish new world in which an undercover cop in a not-too-distant future becomes involved with a dangerous new drug and begins to lose his own identity as a result. Keanu is said cop, and he’s romancing Winona Ryder in their second film together. But she, and indeed everyone else, may not be what they seem as the drugs start to take hold. A pre-Iron Man Robert Downey Jr is very, very funny in his role as a rambling, voluble, paranoid junkie.

Parenthood

June 5th

Director Ron Howard bade farewell to the 1980s with this ensemble comedy led by Steve Martin dealing with his ever-expanding Midwestern American family. The impressive cast includes Dianne Wiest, Mary Steenburgen, Jason Robards, Joaquin Phoenix, and Rick Moranis. Keanu stretches his comedic muscles as Tod, the not too bright but thoroughly amiable boyfriend to Martin’s fiery oldest daughter Julie (Martha Plimpton), a small but memorable turn. It’s tempting to draw a direct line from Keanu’s performance here to that of Reid Ewing as Dylan, the nice but dim boyfriend to the eldest Dunphy daughter in this current decade’s defining sitcom Modern Family.

River’s Edge

June 7th

Keanu and Dennis Hopper co-star again in a far more sombre movie than Speed. A group of high school friends including Keanu, Ione Skye, Crispin Glover, and Roxana Zal must come to terms with the fact that one of their gang, Daniel Roebuck, has unapologetically killed his girlfriend. This look at the private lives of teenagers; their misdemeanours, code of honour, betrayals; consciously courted controversy by basing the grim tale on a real-life occurrence in California. This is one of Keanu’s earliest roles, agonised and soulful, in a haunting and pitch-black 80s teen drama that almost seems to have invited Heathers.

The Devil’s Advocate

June 14th

Keanu’s up and coming Florida lawyer Kevin Lomax accepts a high-powered position at a New York law firm headed by legal shark John Milton (Al Pacino). Meanwhile, Keanu’s wife, Mary Ann (Charlize Theron in her first Hollywood iteration) begins to have frightening hallucinations warping her sense of reality. Kevin quickly learns that his mentor’s life isn’t about simply winning court cases without scruples. Pacino and Connie Nielsen have something far darker in mind. Pacino literally being the Devil in this gaudy thriller featuring creatures by the legendary Rick Baker; he of the lycanthropic transformations in An American Werewolf in London.

My Own Private Idaho

June 18th

Writer/director Gus Van Sant followed up his hit Drugstore Cowboy with a far looser movie featuring one of Keanu’s most nuanced performances and an affecting turn by River Phoenix. This key work of the New Queer Cinema follows two street hustlers, Phoenix’s Mike and Keanu’s Scott, as they embark on a road-trip from Portland, Oregon to Mike’s hometown in Idaho, and then eventually to Rome in search of Mike’s mother.  All the while Scott Favor has no intention of leading this street life forever. Van Sant incorporates Henry IV better than you’d believe possible with Keanu as bisexual Hal.

Bill & Ted’s Excellent Adventure

June 21st

Bill S Preston (Alex Winter) and Ted Theodore Logan (Keanu) are in danger of failing their history final most heinously. This will result in Ted’s disciplinarian cop father sending him to military school. And that would be the end of Wyld Stallyns, the band the pair are trying to make into an MTV sensation despite a total lack of musical ability. It turns out, as Rufus (George Carlin), a dude from the future tells them, it would be the end of the world too. And so comedic time-travelling and borrowing historical figures ensues to ace the history final!

 

Bill & Ted’s Bogus Journey

June 22nd

Keanu’s major sequel problem (John Wick: Chapter 2, The Matrix Reloaded, The Matrix Revolutions, and being blacklisted by 20th Century Fox for passing on Speed 2) began with this bogus journey. William Sadler is sublime as the Grim Reaper, straight out of Ingmar Bergman’s The Seventh Seal, and crummy at Battleship. There is some wonderful set design, but, despite multiple robot versions of our heroes and more time-travelling and time-travel fuzzy logic than you can shake a stick at, this just isn’t as much goofy good-natured fun as its underdog predecessor. Third time’s the charm next year dude?

So first you watch one film with us, and then you watch another film with us, right after?

Bill & Ted DOUBLE BILL

June 23rd

WHOA! Two heads are better than one dude!

“Will you be at this party?” “Definitely.”

Point Break 4th July Party

July 6th

“Vaya Con Dios…”

Point Break

July 11th

Keanu leads this hybrid undercover cop in too deep/surfing/action heist/bromance Point Break with alternately lyrical and muscular direction from Kathryn Bigelow and a script polish by James Cameron. A string of bank robberies in Southern California where the villains disguise themselves as former US presidents sees hot-shot FBI agent and former college football star Johnny Utah (Keanu) assigned the dead-end case and Gary Busey’s gruff veteran. Keanu and Busey realise their crazy theory is correct – these bank-robbers are surfers! Keanu goes undercover, and romances Lori Petty’s surfer while growing closer to the gang’s leader Bodhi (Patrick Swayze). Will he arrest him?

And coming directly after all that is the 20th anniversary re-release of … The Matrix.

January 27, 2019

Miscellaneous Movie Musings: Part X

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. What a week it’s been in the continuing cultural meltdown two tribes go to war turn it off and on again freakout of Trump’s America…

Playing a Trump Cad

I have recently fallen into the seductive but dangerous trap of watching the movies I recommend as TV choice for the week on Sunday Breakfast with Patrick Doyle. And so yet more of my free time enjoyably disappeared re-watching Speed for the first time in a while. As I mightily enjoyed Dennis Hopper’s villainy; whooping it up as he snarled Joss Whedon’s quotable dialogue at Keanu Reeves; and sat thru numerous TV spots for Christian Bale in Vice, I had a light-bulb moment. The perfect actor to play Donald Trump is the late, great Dennis Hopper. His performance in Speed, notably the comic timing, the sneering and taunting, along with notes from his sinister turn as the unpredictable, childishly explosive, sexually aggressive Frank in Blue Velvet, would provide an admirable palette for portraying President Trump in the Oval Office. Were it not for the fact that we are talking about the late, great Dennis Hopper. I’ve previously sighed over Michael Shannon’s comments about his aggressive lack of interest in playing Trump, even as he is happy to portray Guillermo Del Toro’s latest one-dimensional villain. Trump’s speeches are rarely played uninterrupted on Sky News for as long as Obama’s were, but one of the rare occasions they gave him some airtime I was taken aback at what it reminded me of – for all the world he was performing the opening monologue on a late night talk-show. His satirical invective was aimed at very different targets, but the madly free-wheeling style following the ebbs and flows of audience feedback was like an improv comedian ditching his script to go after the trending topics on Twitter. The ad hominem attacks of Trump aren’t so dissimilar to Colbert mocking Trump’s Yeti pubes or Meyers mocking a Trump’s aide receding hair. That bullying joy in cruelty, aligned with the obvious insecurities that drive Trump, seems like fertile ground for any actor. But especially for an actor who used his magic box of memories for any number of undesirables; determined to find motivations that made monsters someone whose skin he could inhabit.

 

The means defeat the ends: Part II

Back in September I pointed out the commercial shortfall of the Hobbit trilogy owing to the artistic shortcomings justified in the name of making it … commercial. It turns out that I took my eye off the ball since then and have only just noticed another example. Back in 2011 the studio was volubly unhappy with David Fincher spending an unconscionable 90 million dollars on making The Girl with the Dragon Tattoo. They felt that for what it was, an R-rated thriller, it could have cost a lot less. An awful lot less, especially if directed by somebody else who wouldn’t shoot every scene about 60 damn times. So Fincher was thrown overboard, and with him Rooney Mara and Steve Zaillian (and possibly the non-committal Daniel Craig), and Fede Alvarez came onboard, but not, as initially assumed, Jane Levy. Instead Claire Foy took over as Lisbeth Salander, and, with the budget being watched like a hawk, the movie came in at only 43 million dollars. See, Fincher?! SEE??!! That’s what line-producing looks like. And then The Girl in the Spider’s Web only made 35.1 million dollars worldwide. As opposed to Fincher’s effort netting 232.6 million worldwide… Oops. So that’s a profit (sic) of 142.6 million dollars being replaced by a loss (sic) of 7.9 million dollars in the quest for greater profit. Once again the studio confused shaking the cash tree with cutting down the cash tree. As my sometime co-writer John Healy noted he wouldn’t have even have watched the first one if Fincher hadn’t been involved. The ends (making mucho money) justified the means (firing Fincher, Mara, Zaillian, and trimming runtime and budget). And, the ends, of making mucho money, were defeated by the means employed.

October 6, 2017

The Mountain Between Us

Idris Elba and Kate Winslet are stranded in the Rockies in a two-hander that feels like it was scripted by Bear Grylls and Nicholas Sparks.

Ben (Idris Elba) is stuck at an airport due to bad weather. He needs to get back to Baltimore to perform life-saving brain surgery on a young patient. Alex (Kate Winslet) is stuck at the same airport. She needs to get back to NYC to get married. She comes up with some ingenious lateral thinking. They should charter a small propellor plane to do the short hop to Colorado where they can make connecting flights. Walter (Beau Bridges) flew missions into Vietnam with people shooting at him, what’s the worst thing that could happen in a bit of bad weather? I mean apart from Walter having a stroke at the controls? And even if you do crash, what’s the worst that could happen? Get seriously menaced by a cougar? I mean Kim Bauer got through that. Yeah, book that plane guys!

There is some fantastically captured scenery in The Mountain Between Us, and some very nice shots by cinematographer Mandy Walker locating the actors in the middle of a vast snowy wilderness. But that’s about as far as you can go with anything approaching unqualified praise. I was genuinely astonished during the credits to find the score had been written by Ramin Djawadi as it had made no impression whatsoever. Indeed the abiding impression was that this film was long, in particular its final 20 minutes make this 104 minute movie feel about 134 minutes, as the inevitable point is hummed and hawed at before being reached. And the point should equally inevitably make Speed fans think of a certain repeated line of dialogue.

Too often this feels like a bad Bones episode, except for tiresome faith v science arguments you get Ben needing to stop trying to control everything and just take risks like the free-spirited photographer who got him into this mess in the first place. And there are painful screenwriting 101 conceits piled up higher than some of the snowdrifts they encounter – of course you wouldn’t tell anybody where you were going and what you were doing before you got stranded, of course you wouldn’t assume you can get cell reception atop the Rockies, of course you wouldn’t eat Walter’s dog for food, of course you wouldn’t let Alex’s injured leg imperil chances of survival, of course Ben wouldn’t be so colossally stupid and unaware as to not wear his gloves and endanger his fingers by frostbite leading to losing his ability to perform brain surgery and so have to relinquish control over his life to fit the neat thematic statement the movie is apparently attempting to make.

The moment you might remember most from this underwhelming romance/adventure is when Idris Elba announces that he’s from Britain but now lives in Baltimore.

2.5/5

Blog at WordPress.com.