View From the Top
April 7, 2016
High-Rise (2016).
D: Ben Wheatley. DP: Laurie Rose. W: Amy Jump (adapted from J.G. Ballard’s novel). Starring: Tom Hiddleston/Jeremy Irons/Luke Evans/Sienna Miller/Elisabeth Moss/James Purefoy/Keeley Hawes/Dan Renton Skinner/Louis Suc.
High-Rise is true to its name as the film explores the life and destructive times of residents of a new residential complex in 1970s era London presumably. The film focuses on the newest resident, Dr. Robert Laing (Tom Hiddleston), whose boxes are left mostly unopened and whose past is never revealed. Laing soon meets fellow lower floor couple Richard and Helen Wilder (Luke Evans and Elisabeth Moss) along with sociably sexy Charlotte (Sienna Miller). Soon invited up a mirrored elevator to meet the grand architect of the building, Mr. Royal (Jeremy Irons), Laing finds himself in a microcosm of capital classism.
At the center of High-Rise is Hiddleston’s performance, one where his eel-like charm and sinuous figure lend a statuesque quality to the anti-hero. His complex yet at times vacant take on Laing is a clean counter balance to the ruthless messy energy of Evans’ performance as Wilder. Sandwiched between them at times is Miller who continues to be a pretty face with little to do. She is dragged across the floor at some point in a menacingly real act of terror. Moss is better here as the heavily pregnant wife of Wilder who is trapped in a concrete created suburban nightmare. Louis Suc as Charlotte/Miller’s son Toby is charming and unaffected.
As a novel before the film devotee I am shamed I did not have the time to read this before seeing it. J.G. Ballard’s work is unfamiliar to me, however, that being said the film inspires me to still pick up the book. The imagery alone of the towers as analogous to an open hand makes me curious what part of the novel were deemed by some as un-filmable or impossible. As life in the high-rise breaks down and groups of floors depreciate into debauchery style becomes the focus.
Cinematographer Laurie Rose worked with Wheatley on his previous films and along with Mark Tildesley creates a world of angular walls and beige for Laing. Such that when he steps out onto the penthouse garden of the Royals you feel almost flushed. His obsession with a can of paint then seems a tad over the top amidst a grocery store looting. The editing is well balanced between stylized moments and narrative propulsion and the use of a cover of ABBA’s ‘S.O.S’ is quite startling. An adult Lord of the Flies trapped within concrete hell, High-Rise is worth a watch. It’s the sort of film I would imagine Patrick Bateman would be fascinated by.
The End to a Long Gesticulating Journey
January 9, 2015
The Hobbit: Battle of the Five Armies (2014).
D: Peter Jackson. W: Fran Walsh, Philippa Boyens, Peter Jackson, Guillermo del Toro. DP: Andrew Lesnie. Starring: Martin Freeman/Ian McKellan/Richard Armitage/Orlando Bloom/Evangeline Lilly/Lee Pace/Luke Evans/John Bell/Billy Connolly and the voice talent of Benedict Cumberbatch. (Based on J.R.R. Tolkien’s book of the same name)
When I sat down in 2012 for The Hobbit: An Unexpected Journey having just finished the book, I knew I was in for a long slog. Stretching final YA novels into two films is a challenge (see The Hunger Games: Mockingjay – Part 1), but turning one book into three films? Ambitious. And a little bit foolish.
The Hobbit: Battle of Five Armies literally picks up where its predecessor, The Hobbit: The Desolation of Smaug ends. There is not any re-setting of tone or sense of place. Unfortunately, it means the first half an hour or so lacks much dramatic punch and sadly very little of Benedict Cumberbatch’s dragon Smaug. The pace does quicken, with armies a coming! But, there is so much set up to any action the film can feel long with far to many scenes explaining dragon sickness. Specifically, this film also used the slowed down or build up of an action moment far too much. Too many blades or other dangers got a lengthy dramatic delivery.
The trilogy has resoundingly relied on Martin Freeman as Bilbo and the majestic presence of Ian McKellan as Gandalf. Freeman’s earnestness, humor and subtle naivete make for an excellent Bilbo in a three films. McKellan’s memorable turn is equally as fun here. Jackson clearly recognizes his fans by adding in story lines for Legolas (Orlando Bloom), although his romantic thread never really holds true with Tauriel (Evangeline Lilly). Also, just to nit pick, but not nearly enough Elvish was spoken in this film. This also goes for a mini battle scene with Cate Blanchett, Hugo Weaving, and Christopher Lee. All for the fans.
The best bit of casting is clearly Lee Pace as Legolas’ father, Thranduil. Menacing and spiteful, Pace towers and steals all his scenes, which he did in the last film. I could ask for more of him as an excellent contrast to the peace speaking elves of the other films. A lot can be said of the muteness of the dwarf company, massive presences in the book, but I am hardly able to put names to faces in the book. However, Richard Armitage as Thorin is a testament to good acting in a sea of people and place.
Ultimately, all Hobbit films have lacked a sense of grace. Where The Lord of the Rings trilogy embraced you with its mood and sense of fantasy (in truest form of feeding your imagination), these films feel like one giant brag. Far too long and indulgent, it will be interesting to see if anyone bothers to give them another go in the coming decades. Surely we are all wondering what Guillermo del Toro’s film would have been like.
If you are interested, more on that can be found in Daniel Zalewski’s 2011 piece in The New Yorker: Show the Monster.
Sleeping with the Obvious
October 26, 2014
Dracula Untold (2014).
D: Gary Shore. DP: John Schwartzman. W: Matt Samaza & Burk Sharpless. Starring: Luke Evans/Dominic Cooper/Sarah Gadon/Charles Dance/Art Parkinson/Ferdinand Kinglsey/Paul Kaye (based on Bram Stoker characters)
It is such a struggle to find new words for origin stories or re-imaginings. Re-telling would be best as odds are there is hardly anything creative about these endeavors. Another film has entered that group this fall.
Dracula Untold is one of those packaged and ordered studio films that must come out of audience testing and market forecasting. First time director and writers amply bring you into the world of their story, but it’s not a very dynamic one. Vlad aka Dracula’s (Luke Evans) grapples with the thematic black and white, but he is so coded as the reluctant hero that there are few surprises to be had.
Flanked by his referential wife Mirena (Sarah Gadon) and son Ingeras (Art Parkinson), Evans’ physical presence is felt onscreen, but there’s not much weight to it. Gadon is the only woman in the film and she is so understanding and ultimately, sacrificial, that she becomes a pawn of the script. Evans’ dealings with Dominic Cooper’s Turkish Sultan also lack any tension and Cooper’s pomposity must be from a giddiness from his paycheck, not his work. The only fun moments are from Charles Dance (known notably for his work on Game of Thrones) who plays the mountain trapped master vampire. His Lannister voice is chilling and his make-up will make you squirm.
Similar to 2010’s Clash of the Titans, Dracula Untold has big britches. The volume is high and obvious, even the bat imagery is there and used repeatedly. But what is actually insulting is in its title. There is noting untold or secretive or to be seen about this film. Everything, down to its bare themes is clear and boring. This Dracula deals not in shadow, but in heavily painted darkness.