Sisterly Secrets
April 21, 2016
The Huntsman: Winter’s War (2016).
D: Cedric Nicolas-Troyan. DP: Phedon Papamichael. W: Evan Spiliotopoulos and Craig Mazin. Starring: Charlize Theron/Chris Hemsworth/Emily Blunt/Jessica Chastain/Nick Frost/Rob Brydon/Sheridan Smith/Alexandra Roach/Sam Claflin/Sope Disiru.
Spring may be a time of renewal, a chance for the resurrection of the beauty of spring. Yet it can also be a time to clean out lives or ideas and see what else can still work together. In an effort to continue to capitalize on the fairy tale explosion of this decade, Universal brings us the new film The Huntsman: Winter’s War. It is as boring as its title suggests and should have been more amply titled: The Queens’ War.
Director Cedric Nicolas-Troyan hails from a visual effects background and was the second unit director on both Snow White and The Huntsman and Maleficent. An in house Universal project from start to finish, the film was (despite reports) clearly commissioned to work around the exclusion of Snow White, played by Kristen Stewart in the previous film. The Huntsman: Winter’s War is thus both a prequel and a sequel. It is constructed to introduce Freya (Emily Blunt) as Ravenna’s (Charlize Theron) sister before the first film’s events. Out of grief from the loss of her child Freya then creates her Huntsman army that includes Eric (Chris Hemsworth) and his lady huntsman equivalent Sarah (Jessica Chastain). The film then jumps seven years later to a point after Ravenna’s defeat at the hands of Snow White and Eric.
The central drama of the film surely lies with Ravenna and Freya. Blunt does well to make Freya fragile yet hard hearted. It is a testament to Blunt’s likability that I excuse her blind trustfulness of her sister, the story is far too simple anyway. Hemsworth physical presence still pounds through the screen, but he is not convincing as an emotional romantic lead. Chastain’s Scottish brogue is decent, but the pair don’t have memorable chemistry. They are all a bit too Hansel & Gretal: Witch Hunters for me. The film’s production values are probably more interesting that its actors; the visual effects get you through a flimsy script.
Oscar laden costume designer Colleen Atwood continues to do stunning work. In fact the most exquisite part of the production is her work. Ravenna’s gold dipped feather coat or Freya’s crystal heavy gown are simply breathtaking. Both women wear finger length rings that tap against the ice and stone fortresses they build. The concept of Freya’s icy power unfortunately seems a bit Elsa from Frozen, but Ravenna’s birth from the gold mirror and black tar oozing violence is fit for the dominating presence of Theron.
The Huntsman: Winter’s War has come under scrutiny for attempting to be a kind of feminist vehicle toting developed female characters but failing. Sadly each character is defined by a lack of love of a man or a child. Ravenna speaks of being destined for something else, but not without recognizing her initial desire for motherhood. Her quest for power comes from vanity she sees reflected in her beloved mirror. Her vanity pushes her to build an empire, nothing more. The film ultimately becomes a love drenched cheese fest that falls short of the more beguiling Maleficent.
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.
The Beginning of the End…
July 2, 2012
Prometheus (2012).
D: Ridley Scott. DP: Dariusz Wolski. W: Damon Lindelof & Jon Spaihts. Starring: Noomi Raplace/Michael Fassbender/Charlize Theron/Idris Elba/ Guy Pearce/Logan Marshall-Green/Sean Harris/Rafe Spall/Benedict Wong/Kate Dickie.
With a film like this it is hard to know where to begin unpacking. Highly anticiapted and theorized about, Prometheus marks Ridley Scott’s return to the Alien stories. Originally conceptualized as a prequel to his illustrious Alien (1979), with Sigourney Weaver, Prometheus was then reworked as more of an exploratory origin story. If you even can call it that. Rather, I would say, the film attempts to put into perspective questions the previous films brought up. It creates a new story that enlarges the original scope, while closing in on specific themes. Ultimately, the film will remind audiences that oftentimes there aren’t direct answers to the questions we seek to answer…or are there?
Firstly, the film must be applauded for its visual achievements. It was worth wearing the 3D glasses for the opening sequence alone, which not only was pure beauty, but set the tone of how massive a story would be tacked. The beauty is not limited to just the sets, but to the costume and make-up work. Without spoiling anything, it is safe to say audiences will stay impressed throughout the whole film with the level of artistic work put into everything. Prometheus is truly a cinematic experience.
Similar to the previous Alien films, life and society on board the ship is just as integral to the story as what is found off of it. Thankfully this film is well balanced between the two worlds. Although not your typical leading Hollywood lady, Noomi Raplace’s Elizabeth Shaw is believable and memorable. Hailing from the original Swedish versions of the Girl with the Dragon Tattoo series, Raplace is every bit Weaver’s Ripley’s opposite. This works in her advantage as she appears in direct contrast to statuesque ice queen, Charlize Theron, whose company is paying for the expedition. But also, her physicality aids in her character’s determination to explore and discover her own origin as it reflects that of mankind. Michael Fassbender’s robot David nearly steals the show. Which at times truly helps the film as Theron and even Logan Marshall-Green’s Charlie can get a little heavy handed.
What remains heavy handed, in a good way, is Scott’s clear sense of suspense and mood. Prometheus, much like his original Alien, is like one big gear. It needs a certain amount time to heat up and gain momentum, but once its warmed up there’s no stopping it. For someone unfamiliar with these films it might seem slow, but for anyone “in that world” so to speak, it takes off at just the right time. Yet, very similarly to Scott’s Blade Runner (1982), I felt at times I was plopped into the middle of a story that had so many tangents to it, it was hard to stay focused.
Lastly, on a personal note, I did not enter the cinema thinking I’d have all the answers laid out in front of me. But that does not mean there weren’t still moments of frustration. However, overall I feel Prometheus is a platform. The film expects its audience to take a huge leap off into the unknown. So rather then get frustrated, I enjoyed the fall. And quickly went off to chat about all the details I could not write about here, as you should do as well.