Franchised Fun
May 21, 2016
With JJ Abrams deep in Star Wars territory now, Justin Lin has directed the next Star Trek film. Lin helmed Fast & Furious 6 and with Star Trek Beyond will hopefully bring a new spin on very well known characters. Joining the younger crew is Idris Elba in full alien make-up and Sofia Boutella as the alien woman seen in the trailer. No red flags for me, pretty standard second trailer, but Leonard Nimoy will be missed. The film is out July 22.
Star Trek Beyond
A New Golden Duo
May 20, 2016
The Nice Guys (2016).
D: Shane Black. DP: Phillippe Rousselot. W: Shane Black & Anthony Bagarozzi. Starring: Ryan Gosling/Russell Crowe/Angourie Rice/Margaret Qualley/Yaya DaCosta/Keith David/Matt Bomer/Lois Smith/Jack Kilmer/Kim Basinger.
This summer a new duo has joined the streets in an original story by action genre wiz kid and Lethal Weapon creator Shane Black. Also a co-writer and the director of Iron Man 3, Black returns to his roots so to speak with a witty film that has just the right amount of homage to 1970s action films to be fresh, but not overcooked.
Black finds his duo in Ryan Gosling and Russell Crowe. Not the most likely pairing, but believe me it works. Gosling plays Holland March, a weasel of a former detective who squeezes the most money out of every job he can. A single father to a 13 year old girl, Holly (Angourie Rice), his business is certainly paycheck to paycheck in more ways than one. During his investigation into the disappearance and death of a pornography actress he crosses hairs with Crowe’s Jackson Healy whose been charged with keeping men clear of Amelia Kuttner (Margaret Qualley). In the name of justice Healy throws his weight around for a living with plenty of middle aged machismo. Thrown together they soon realize the puzzle they are dealing with is a lot bigger than they knew.
Set in 1970s Los Angeles, The Nice Guys has a vigorous vintage feel in its construction as well as its trimmings. The credits and music grafts the 70s onto the Los Angeles skyline with its blinking yet homogeneous skyline that draws all sorts of characters into its bowels. The setting works to keep the investigation tools simple and humor brings lightness to a genre overlaid with one-liners and serious courage. Costume designer Kym Barrett (Jupiter Ascending, The Amazing Spider-Man) does not over do the period with Amelia’s flashy yellow gown a particular favorite along with Tally (Yaya Dacosta’s) jumpsuits and Afros. The production gets all its 70s weird out with one go at a Hollywood party that houses mermaids and contortionists.
This duo suffer from March’s excessive drinking and Healy’s inability to deduce anything from clues. The pairs chemistry drives the story rather than the other way around and each time Gosling appears with his caste arm ripped through another suit you have to chuckle. Crowe is a love-able brute here and keeps up with Gosling’s quieter mumbling. Neither actor brings shtick and perhaps this is because they both, for the most part, play serious roles. The script brings in the daughter Holly just enough to break the action and build protective tension between the men. Rice’s Holly is a clever and sassy kid who is a good sounding board for the duo and whose good instincts actually help the case. Maybe it’s time to bring back Harriet the Spy? Happy to see the female voice was not ignored in this film.
Black paces The Nice Guys exceptionally so that by the time you are ready it is over. He seems in command of the material and does not pull gags. Gosling in particular does well with his surprise delivery as he keeps surviving falls and mayhem. Now working on a revival of The Predator with the same producer, Joel Silver, it should be fun to see what Black brings up next. Here’s hoping another The Nice Guys comes our way as I sure hope to see Gosling saying ‘no’ like a child does when you take his toy. Granted he was about to get his arm broken, but it is still comedy gold.
Have not seen the trailer yet? Catch it here: The Nice Guys trailer
Virtual Reality Through Death
May 12, 2016
The first trailer has arrived from 20th Century Fox for their adaptation of the video game Assassin’s Creed. Directed by Australian Justin Kurzel the film stars his Macbeth team of Michael Fassbender and Marion Cotillard. Hitting theaters in December of this year, the trailer gets a pulsing overcoat of sound that includes a track from Kanye West. Check it out!
Assassin’s Creed
The Unofficial James Bond Audition
April 28, 2016
Bastille Day (2016).
D: James Watkins. DP: Tim Maurice-Jones. W: Andrew Baldwin. Starring: Idris Elba/Richard Madden/Kelly Reilly/Charlotte Le Bon/José Garcia/Anatol Yusef/Thierry Godard.
Last weekend the Paris set Bastille Day from the European house of Studio Canal hit theaters. An action film that could easily fit the likes of Liam Neeson, Bastille Day is a rapid fire adrenaline rush that is as compact and direct as the bullets from a gun.
Literally hitting close to home with the recent Paris attack, Bastille Day (which was shot long before the attack) plops us down in the middle of the city of light right before its holiday. American CIA agent Sean Briar (Idris Elba) arrives to be briefed for his new duties. Meanwhile expert pickpocket Michael Mason (Richard Madden) nicks the wrong bag inadvertently sending a terrorist attack into motion with a bombing. Agent Briar is sent to find and interrogate Michael before the French get to him, a little international agency chess if you will. Of course there is more at play as the conspiracy behind the lines reveals itself, not too many surprises there.
Elba brings his Luther strut to Agent Briar and believably pounds the pavement. A brilliantly crafted and executed chase sequence atop buildings in the first act will have you squirming in your seat. Madden, the former Rob Stark of Game of Thrones and boring Prince Charming of Cinderella, holds his own with charm and anxiety as Elba’s main screen partner. Both sport believable American accents, Madden’s sounds a lot like another actor whom I still am working to place. It might have been fun for a Brit and Scot to have led this charge, but then the film would have been too obviously Elba’s audition for the next James Bond. Just the way he nearly towers over everyone is gorgeous humor in itself.
The film is deftly paced and at only ninety-two minutes you get everything you need swiftly. The chase is afoot as one would say as the unlikely pair must work together to weasel out the corruption they find. Thankfully the cheese is layered on thinly and the reality of death, with point black agent shootings, gives the story the powerful edge it needs for squirmy realism. Alex Heffes music is a bit much, leaning on the volume button and queuing things so obviously. Bastille Day is clearly better than most, but mostly acts to remind us why Elba is destined for even greater stardom.
Matt Damon returns to Jason Bourne
April 21, 2016
Paul Greengrass and Matt Damon reunite for another installment of Jason Bourne in the first trailer out today. Joined by franchise vet Julia Stiles and Alicia Vikander, the film is in theaters July 29.
Jason Bourne
A Commercial Inflation
April 17, 2016
Batman v Superman: Dawn of Justice (2016).
D: Zack Snyder. DP: Larry Fong. W: Chris Terrio & David S. Goyer. Starring: Henry Cavill/Ben Affleck/Jeremy Irons/Gal Gadot/Amy Adams/Jesse Eisenberg/Holly Hunter/Scoot McNairy/Laurence Fishburne/Diane Lane. (Based on the Batman character created by Bob Kane and Bill Finger and the Superman character created by Jerry Seigel and Joe Shuster.)
As Marvel’s Avengers continue to assemble and reek havoc at the box office it was only a matter of time and rights before DC Comics would attempt to put together their Justice League. Without spending endless time explaining which studios have the rights to which characters, safe it to say it is a complex mess. Batman v Superman: Dawn of Justice attempts to pit the caped crusader against the batman in order to contextualize events that can lead to the justice league and the philosophical frictions of these two characters.
Batman v Superman picks up where 2013’s Man of Steel ends with a very svelte Ben Affleck as the new Batman witnessing the final destructive fight between Superman (Henry Cavill) and General Zod (Michael Shannon). As a Wayne Enterprises building goes down in Metropolis Affleck’s Bruce Wayne begins his grudge match with alien Superman. We move to eighteen months later where both men continue to hunt the other and furrow their brows at their competitors moral choices. Superman is treated like a god, but yet is easily framed. Batman pounds the flesh of criminals for information, but misses what is under his nose.
Cavill continues to look the part of Superman, but he still cannot save a dated and one-dimensional character. No one believes this glass wearing alias anymore. He mostly stares and recites, forcing poor Amy Adams to keep trying to give Lois Lane some purpose other than the love interest. Affleck’s Batman is a heavy jawed bully that lacks the sparkle and edge Christian Bale gave us in his Dark Knight films. Alfred gets his sexy back here with a dry and spry Jeremy Irons lending a more casual approach to the Wayne family which now lives in a floor to ceiling glass house perched next to some sort of moor. Don’t worry Batman will drive by the burnt down mansion in case we had forgotten. There is also a tremendously silly work out montage for Affleck, Warner Brothers clearly wanted every bang for their buck.
Director Zack Snyder returns to comics after directing Man of Steel. A movie too loud and violent for its own good, something this new film picks up on. Thematically the film wants to address the questions of violence and hope in both figures. Yet Batman v Superman instead uses Jesse Eisenberg’s Lex Luther as a scapegoat, excusing the violence as retribution for his actions. Overall Eisenberg is not actually given much to do, but safe to say the creation of his villainous status is sure to come up again.
Cinematographer Larry Fong who shot the excellent Super 8, as well as Watchmen and 300 with Snyder, is working in over drive here. The opening sequence is high resolution glossy commercial art tenuously trying to build a dramatic mood the film cannot maintain. Nearly every zooming close up is accompanied by a blaring bore of a soundtrack that announces every moment with pounding drums. The best bit of music is Gal Gadot’s Wonder Woman theme all a bit rock n roll cowgirl. Her own film will be released next summer so she is also introduced here to build interest in that.
Ultimately Batman v Superman is an overstimulated and over inflated bed partner for The Avengers. There is not a moment of humor in nearly two and a half hours of film. Rather the humor comes from laughing at a film that takes itself entirely too seriously. Do Batman and Superman mothers have to be named the same name? After the somewhat realistic Nolan Batman series, which I loved, this group needs some light into it. Here’s hoping Wonder Woman, which is being directed by Patty Jenkins, will be a bit better.
Final Embers
November 22, 2015
The Hunger Games: Mockingjay Part 2 (2015).
D: Francis Lawrence. DP: Jo Willems. W: Peter Craig & Danny Strong. Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Julianne Moore, Donald Sutherland, Woody Harrelson, Philip Seymour Hoffman, Sam Claflin, Natalie Dormer, Elizabeth Banks, Willow Shields, Jena Malone, Jeffrey Wright, Stanley Tucci, Mahershala Ali, Michelle Forbes. (NOTE: Based on Suzanne Collins’ novel)
Another YA fiction adaptation comes to a close begging the question, what will be the next series? The Divergent series starring Shailene Woodley has not been able to compete at the box office with Hunger Games or Harry Potter or Twilight so it’s safe to say we are still looking for what’s next. However, regardless The Hunger Games: Mockingjay Part 2 wraps up this series nicely and provides the action packed punch the final installment needed.
Part 2 picks up from the previous film that ended with the rescuing of Peeta (Josh Hutcherson) from the capitol where he had been conditioned to kill Katniss (Jennifer Lawrence). Emotionally this sets up Katniss’ additional drive to infiltrate the capitol and kill President Snow (Donald Sutherland). Although asked to wait by her superiors and remain just the symbol of the rebellion, Katniss does what she does best and sneaks out anyway. Eventually Katniss will join forces with a special skilled group and enter into the capitol which is covered in pods that make it essentially another hunger games. This stretch of the film is the best as it’s action roots are what make the series its own. Katniss must act and react to what lies ahead of her, with fabulous bow and arrow use to boot.
This final film was shot in tandem with the previous one so the creative team stayed the same between the two. Director Francis Lawrence and cinematographer Jo Willems keep up the good work from Part 1, but excel at the action sequences. The emotionality of the love triangle cannot be sustained by the series, but this is not from lack of trying by Lawrence. Her teenager is all woman now, which arguably she always was, but still does not connect convincingly with Hutcherson. Their chemistry does not build impact and at this point in the story no one should have to be convinced of their connection.
Thankfully they are surrounded by new faces and action to help move the film along as death continues to be part of these games. The ending of the film provides twists and turns but if you have read the book these lack some resonance. That could also be because Katniss’ denial of any political position makes all her decisions emotional rather than tactical. Great when read by a YA audience, but maybe not the best ending for a cinema offering. Julianne Moore still suffers through a severe wig as President Coin and Philip Seymour Hoffman’s final scenes shimmer with their own kind of sadness.
The Hunger Games world keeps expanding throughout the series, but there is still not a clear sense of space defined visually. The size of Pan Am is hard to conceive and with the repetition of game-like narratives the films themselves are cyclical and non distinctive, except for the previous one. Seeing them as a set now their explorations of trauma and death as sport is a fascinating exploration of modern warfare. Despite its YA context Hunger Games does ask its teens to think and think beyond themselves. A great feat for any teenage set content. We shall see who steps up to the plate next.
Not Another Hitman
October 17, 2015
Sicario (2015).
D: Denis Villeneuve. DP: Roger Deakins. W: Taylor Sheridan. Starring: Emily Blunt/Josh Brolin/Benicio Del Toro/Victor Garber/Jon Bernthal/Daniel Kaluuya/Jeffrey Donovan/Maximiliano Hernández.
As London Film Festival comes to a close this weekend there is still plenty to see out in theaters. Sicario is the next installment in movies about the Mexican/American border cartel crisis, but it’s not what it seems. Rather it follows FBI kidnapping crisis leader Kate Macer (Emily Blunt) as she’s roped into a border crossing mission that has her out of the loop and into the line of fire.
Veteran cinematographer Roger Deakins whose responsible for so many favorites (Shawshank Redemption, Fargo, A Beautiful Mind, Skyfall) is in full command here. Aerial shots and thermal cameras work with long shots to create an aura of surveillance and threat. Yet the character connections are not lost on camera either. Deakins pulls us into Kate’s world, but never relies on extreme close ups to deliver the punch.
Working for the second time together, Deakins and Canadian director Denis Villeneuve are slated to work on the Blade Runner reboot. Villeneuve’s mind cringing film Enemy might make you say WHAT? when it’s over, but it’s better handled than his child snatching who-dun-it Prisoners. Clear in both of these film, as well as Sicario, is good acting. No one in Sicario plays anything over the top, rather disgust and confusion help build suspense. Suspense that is fantastically illuminated by Jóhann Jóhhannsson’s score. He won a Golden Globe last year for scoring The Theory of Everything, but this time the score reverberates through the seats building the most beautiful dread.
Blunt straps on Kate’s glock quite well, she is believable as an FBI buster but with less guts than her role in Edge of Tomorrow. Blunt’s relate-ability doesn’t come across as ordinariness rather she is everyone and herself at the same time. In other words, she is able to encourage the audience to root for her and identify with her, but never loses her singularity. Benicio Del Toro’s sexy-weird-creepy-silent Alejandro grounds the film’s nebulousness giving the violence a grim reaper sheen to it. Daniel Kaluuya is nice as her partner and Jon Bernthal’s small role is well crafted.
Sicario feels fresh because it’s a hitman movie not about the hitman. There are small flaws in the scripts, a few cheats and tricks that you can see coming. In line with the feminism in Hollywood hot topic debate of late it is nice to see a female led action film that brings depth, Blunt continues to make good choices. Overall it’s a solid film built around character rather than action, we shall see what this duo can do with Blade Runner.
A Beautiful Wasteland
June 10, 2015
Mad Max: Fury Road (2015).
D: George Miller. DP: John Seale. W: George Miller, Brendan McCarthy & Nick Lathouris. Starring: Charlize Theron/Tom Hardy/Nicholas Hoult/Hugh Keays-Byrne/Rosie Huntington-Whiteley/Zoe Kravitz/Riley Keough/Abbey Lee/Courtney Eaton/Josh Helman.
This summer is overloaded with new installments of franchises thought put to rest. But not a single studio can bare to let a profiting idea go to bed. Finally there is a series that picks up something altogether new and although takes years to complete, was clearly worth every penny.
George Miller’s original Mad Max was released in 1979 and starred a twenty three year old Mel Gibson. The film spawned two sequels and put both Australians on the international cinematic map. Three decades later we are given Mad Max: Fury Road, not a remake or re-telling, but rather a familiar character in a different time.
Shot in Australian and Africa, Mad Max: Fury Road is frankly, breathtaking. Vast stretches of orange desert plume on screen and ask as a palette mixer to the machinery fueled world of this post apocalyptic setting. Veteran cinematographer, John Steale, creates an epic visual statement to match the intensity of the film’s action. Certain sequences are sped up and the camera moves quickly, encouraging a sense of fatigue that is simultaneously exhausting and electrifying. One almost feels the whiplash from the film, never with a moments peace like its characters.
Tom Hardy’s Max is another installment in Hardy’s professional grunting, hmming and murmuring skills. Like the original character played by Mel Gibson, Max is a man of few words and Hardy perfectly harrumphs through this performance. His voice is reminiscent of his Bane from The Dark Knight Rises, but thankfully is given so much to do it doesn’t quite matter. Double billed with svelte and head shaven Charlize Theron, her Furiosa carries her torment more like a shield rather than a weapon in Max’s case. Theron is all ultimate action star here and I am not the least bit surprised by the success of the film with her as its heroine.
Joining the leads is a great performance by Nicholas Hoult who is hardly recognizable. The harem of girls Furiosa smuggles certainly carry their weight though some of their moments ring a bit melodramatic amidst so much carnage. Hugh Keays-Byrne, a veteran of the previous films, is unforgettable as tyrant war lord, Immortan Joe.
Not enough can be said about the action. It is non-stop. It is barbaric. It is ferociously beautiful. Despite such a simple linear narrative, Mad Max: Fury Road builds an intricate world both visually and conceptually. I could rant and rave about specific moments, but I would hate to give it away? Go see for yourselves.
A Heroic Attempt
August 29, 2011
Captain America: The First Avenger (2011).
D: Joe Johnston. DP: Shelly Johnson. W: Christopher Markus & Stephen McFeely. (Based on the Marvel comic books by Joe Simon & Jack Kirby.) Starring: Chris Evans/Huge Weaving/Tommy Lee Jones/Stanley Tucci/Dominic Cooper/Hayley Atwell/Toby Jones/Sebastian Stan/Neal McDonough/Derek Luke/Kenneth Choi/JJ Field.
As summer slowly winds down, the last of the comic book films makes it onscreen. Summer audiences have already seen my favorite, X-Men: First Class, Thor, and the disastrous Green Lantern, which I chose to pass on seeing. Already set for release next summer are The Amazing Spider-man (a remake so laughable it is sad) and The Avengers, which is nicely set up by the end of this last film, Captain America:The First Avenger.
Captain America immediately has a leg up on other franchises as it is not set in modern day. The period setting, in this case the heat of World War II in 1942, gives the “superhero” premise some release from having to attempt to fit the plot into a modern landscape. Rather the “superhero” element of it all is rooted in patriotism and the scientific progress made during the war. A plausible context for CGI scrawny Chris Evans’ desire to join the army despite his repeated ineligibility and turn his character, Steve Rogers, into the genetically improved Captain America. This is not Evans’ first comic-book character he has brought to screen. He previously played Johnny Storm or Human Torch in 2005’s Fantastic Four and 2007’s Fantastic Four: Rise of the Silver Surfer. However, this is definitely the better role and film. So although the project doesn’t seem like much of a challenge for Evans, he gives a decency and shine to Steve that gives the whole project the human strain it needs.
Amidst all the changes Evans undergoes, he is shepherded by a charming Stanley Tucci as a German scientist and then managed by a gruff Colonel played by Tommy Lee Jones. Dominic Cooper makes a delightful turn as Daddy Stark, the aviator and brilliant engineer whose son ends up as Iron Man. His friend and eventual fellow soldier, Bucky, is amply played by Sebastian Stan. Evans and Stan have a nice camaraderie and thankfully no obligatory romantic interest character shows up. Rather Brit Peggy (Hayley Atwell) works with Evans since the beginning and whatever romance is there can be read more as new found stud Evans realizing how his chances might have changed. Atwell is charming and beautiful and her character thankfully makes sense as her unit is so specific a woman’s presence is plausible.
The only elements that truly identify the film as a “superhero” one is the outfit Evans must don for his beginning charades as a symbol for wartime bond buying. Once again the setting allows details like this to be taken in stride and actually given more meaning. Another element would be Hugo Weaving’s performance as Joann Schmidt or Red Skull, a German military man who takes his own science to the next level during the war. This is also not Weaving’s first involvement with a comic-book adaptation. He previously starred in 2006’s memorable V for Vendetta based on a graphic novel. Weaving does wonders with neuroses here and adds weight to the crazy he must contend with for his character. Unfortunately, it is only his look that really ruins the mood. Also, one can only wonder that Evans never has any medical or mental side effects from his new situation? Once again, the “superhero” element takes over.
Overall, Captain America ends the summer on a nigh note. From start to finish it is enjoyable, with enough action and drama to hold up its wartime setting. The true test for most audiences will be to see how memorable a character Captain America actually is. Having not been very present these last few years or successful with its previous incarnations, we shall see how this all plays into the new Avengers film next year. A film which I do hope knocks all the rest of this genre out of the water. But one can only hope.