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.
Something Wicked This Way Comes…
October 21, 2015
Crimson Peak (2015).
D: Guillermo del Toro. DP: Dan Lausten. W: Guillermo del Toro & Matthew Robbins. Starring: Mia Waskikowska/Jessica Chastain/Tom Hiddleston/Charle Hunnam/Jim Beaver/Burn Gorman.
Halloween is nearly here and timed to the holiday comes spook master Guillermo del Toro’s newest film Crimson Peak. His first directorial effort since 2013’s Pacific Rim, the Mexican director has been involved with other projects in many ways. His departure from Warner Brother’s The Hobbit Trilogy was discussed at length in a recent profile in The New Yorker. He brings to this new film the same visual style that was so glorious in his 2006 film Pan’s Labyrinth and won the film three Oscars (cinematography, art direction, and make-up).
Crimson Peak is visual splendor. Set in the vague time of the turn of the last century the film follows Edith Cushing (Mia Wasikowska) who as a child is visited by her mother’s ghost who warns her of Crimson Peak. Once of age Edith turns to writing, ghosts included, but is quickly enchanted by the arrival of the tall, dark and English Sir Thomas Sharpe (Tom Hiddleston). After her father’s untimely death, Edith marries Thomas and embarks to his home to live with his sister Lucille (Jessica Chastain).
Without giving much away the film’s tone of Gothic horror is as rich and red as the clay that Thomas peddles from his estate. Wasikowska’s Edith feels like Anne of Green Gables, too sharp for her time and easily seduced by puff sleeves and romance, and that is a compliment. Australian Wasikowska whose Alice in Wonderland days are soon to resurface, brings a stylish innocence that works for the heroine of a dark tale. Although not as emotionally demanding as her fine performance in 2011’s Jane Eyre she is great here, her blond tresses working in stark contrast to Chastain’s auburn ones. Originally Emma Stone was cast who would not have fit though Benedict Cumberbatch could have made a good Thomas.
The trio have good chemistry that revolves around Hiddleston’s ability to dazzle in the dark. Known for his role as Loki in the Thor and Avengers films, Hiddleston has the right balance of danger and sex. Yet his hair could have been better, seems trivial, but it’s too reminiscent of Loki. The few flaws in Crimson Peak lie with Chastain and Charlie Hunnam. Her stiff and diabolical Lucille lacks complexity and unfortunately she is never quite able to nail her English accent. Chastain’s Edith is rather too two note, up or down, hot or cold. Del Toro is said to have been inspired by Italian horror master Mario Bava. I see echoes of Black Sunday here, but Chastain is no Barbara Steele. Visually she looks the part, but it never quite takes off. Hunnam is simply too clean and earnest, his snooping is fine, but obvious.
Crimson Peak‘s greatest achievement is the Sharpe estate. Nearly sinking into the red clay of the land the house is so dilapidated the distinctions between outside and in is blurred. Snow comes through the house as bugs live and die. It’s Disney’s Haunted Mansion, but for adults. The ghosts themselves are part vision and corpse. Del Toro’s masterful hand is breathtaking and subtle. He builds worlds not creatures. To think of his what his Hobbit films would have been like is to think of the dream so intricate and beautiful you cannot remember it.
Man on a Planet
October 6, 2015
The Martian (2015).
D: Ridley Scott. DP: Dariusz Wolski. W: Drew Goddard (Based on Andy Weir’s novel of the same name). Starring: Matt Damon/Jessica Chastain/Chiwetel Ejiofer/Jeff Daniels/Kristen Wiig/Kate Mara/Sebastian Stan/Michael Peña/Aksel Henne/Mackenzie Davis/Donald Glover/Sean Bean.
Ridley Scott’s newest venture has sky rocketed in the box office over the weekend. The Martian will probably put Scott back on the sci-fi map, which is a credit to its source material and its star, Matt Damon. Even at nearly forty-five, Damon’s boyish charm and Jason Bourne determination make him an enjoyable force on screen.
I skipped out on Scott’s directorial effort Exodus: Gods and Kings last year and feel confident in that decision. Yet I did make time to see 2012’s Prometheus and even 2010’s Robin Hood. For me Prometheus was a mixed bag, but the lore of the Alien franchise was not something I was deeply connected to. Here in The Martian Scott is free from any baggage and seems to have a clearer hold on the story he wants to tell.
Based on Andy Weir’s initially self-published novel, The Martian is the story of astronaut and botanist Mark Watney (Damon) who is stranded on Mars following an injury during an emergency planet evacuation with his fellow crew-members. Thought to be dead, the crew starts their return home and he wakes up to the daunting task of feeding himself until the next Mars crew arrives in four years. Back on earth NASA eventually figures out Watney is alive and how to communicate with him and the rescue mission plans begin. The novel is a science heavy survival story with loads of humor that thankfully makes it into the film.
A difficult adaptation, Drew Goddard’s script does well in trying to balance Watney’s computer diary with the real rescue plan at home. Goddard previously adapted World War Z for the screen and co-wrote with Joss Whedon the fabulous Cabin in the Woods. Goddard’s script cannot match the wit of the novel, but that is simply because we cannot have a two hour film of just Damon making jokes. The best stick around, but the conventionality or studio glossing as I see it comes in back on earth, especially in a silly coda ending. The momentum is lost with Dr. Kapoor (Chiwetel Ejiofer) and a lot of the tension between the higher ups is diluted to humor and actor Sean Bean being able to say the Lord of the Rings joke from the book. Same can be said about the Mars crew, they aren’t given a chance to shine really, acting more as a catalyst for Watney’s escape possibilities.
The Martian however overcomes this with a visual palette that reiterates why mankind is so obsessed with space travel. Mars and Watney’s gadgets are a great backdrop for Damon’s exploration into how to really survive on the planet. Ultimately that is the joy of the film and the book. To see this character really figure out all the technology and science he needs to try to make it home. The Martian will surely continue to do well and makes me hopeful that Scott’s next movie might be even better.
The Master Has a New Project
February 14, 2015
Check out the new trailer for Guillermo Del Toro’s new film.
Crimson Peak
All Bark and No Bite
January 28, 2015
A Most Violent Year (2015).
D/W: J.C. Chandor. DP: Bradford Young. Starring: Oscar Isaac/Jessica Chastain/David Oyelowo/Albert Brooks/Alessandro Nivola/Elyse Gabel/Peter Gerety.
The past few years have catapulted a few actors to become big names. Thankfully a few of those are consistently still picking good work for their resumes, even if it sometimes goes ignored by the powers that be.
A Most Violent Year is writer and director J.C. Candor’s third feature film. The film follows burgeoning oil businessman Abel Morales (Oscar Isaac) confronted with violent attacks on his truck drivers that threaten his business growth and his family’s safety. Pushed by his wife Anna (Jessica Chastain) for action, he must balance his ideas of a clean, honest business with the reality of his situation.
Having attended Julliard together, Chastain and Isaac have clear chemistry with each other, allowing their scenes to be more interesting than the actual material. Chastain, all dolled up in 1980s Armani, looks ravishing here and has some great moments. However, her performance comes in a bit too high of pitch compared to the rest of the film and sadly you are not surprised then when she is up to no good (really, very bored of this trope). Isaac is more subtle, silently dominating his scenes, never playing all his cards. His Abel is pure honest practicality and he carries the film well. That being said, the costumes and world of the film are exquisite, aiding the tone. Specifically, Isaac’s camel overcoat feeling like a light against the corrupt world he must work in.
The couple is supported well by David Oyelowo, playing a district attorney. But the true standout is Elyse Gabel as Julian, one of the attacked truck drivers. Working with the Selma cinematographer, Bradford Young, Chandor is able to chronicle Gabel’s journey stylistically, but misses some notes of the trauma of the character. So overall A Most Violent Year never really sinks its teeth in. One is left in a sort of teased haze of ambivalence, which surely Abel would disagree with.
A Little Bit of Good Old Fashioned Badass
September 11, 2012
Lawless (2012).
D: John Hillcoat. W: Nick Cave. DP: Benoît Delhomme. Starring: Shia LeBeouf/Tom Hardy/Jason Clarke/Guy Pearce/Jessica Chastain/Mia Wasikowska/Dane DeHaan/Gary Oldman/Bill Camp. (Based on Matt Bondurant’s novel, The Wettest County in the World.)
As fall descends on most parts of the country, us Angelinos still writhe in heat and repeat our monologues on the wonders of daily life without air conditioning. For those sweating out September like me, might I recommend escaping the humidity with a little Depression-era fun? Alcohol included.
Lawless was originally conceived and put together as a studio film. Brimming with an A-list cast, the film soon fell apart in 2008 as financiers fell out and creativity clashes came to light. Thankfully, director John Hillcoat and writer Nick Cave were able to resurrect their story on an independent budget and with a, in my opinion, even better cast.
The only actor to remain attached and apparently championing the film was Shia LeBeouf. Rightfully so it is Lebouf’s character, Jack Bondurant, that acts as a catalyst for much of his family’s journey in the film. Lawless delves into the Bondurant boys’ Virginia business of making moonshine for the local community. Yet LeBeouf’s desire to expand is stalled when Prohibition hits their town. LeBouf’s Jack is the youngest, least physical, but most ambitious of the Bondurants and deftly feels the highs and lows of his business in his pocket and on his face. LeBeouf’s doe-eyes, innocent smile, and clear understanding of the material serve him well here. He’s as much likable as he is pathetic, and you cannot help rooting for him through his stupidity, bravery, and grief.
LeBeouf is generously and memorably supported by Tom Hardy as eldest Bondurant boy, Forrest. As thick as his name suggests, Hardy’s Bane-like physique is mastered beautifully. Kept snug by a grandfather cardigan and favorite hat, Hardy’s Forrest is subtle, commanding, and powerfully controlled. You’ll honestly wish there was even more of him in the film. Yet if there was we’d miss out on Gary Oldman’s sparkly turn as a local gangster and the little of Jessica Chastain’s Maggie we get to see. Equally as good yet with less moments to shine are Mia Wasikowska as LeBeouf’s young love interest and Jason Clarke as middle drunken Bondurant boy, Howard. Rounding out all of these fine actors though is Guy Pearce as trecherous germaphobic special agent Charlie Rakes. Hell bent on spreading hell within the Bondurant camp, he’ll hopefully remind everyone why Prohibition ended.
Lastly, Lawless was clearly lovingly made. Hillcoat provides a well-balanced film that both visually resonates and orally ignites. In clear conjunction with his screenwriter, he melds the gangster and western genres so well that ultimately the biggest compliment I can give is, I want to see more. And with a soundtrack and original music like Lawless let’s hope this collabartion continues.