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 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.
A Final Bow for Batman
August 6, 2012
The Dark Knight Rises (2012).
D: Christopher Nolan. W: Jonathan Nolan & Christopher Nolan. DP: Wally Pfister. Starring: Christian Bale/Gary Oldman/Tom Hardy/Joseph Gordon-Levitt/Anne Hathaway/Marion Cotillard/Morgan Freeman/Michael Caine. (Based on the DC Comic characters created by Bob Kane.)
In all honesty it took my awhile to get to this review. I was very tense after the Aurora shooting, which I actually felt in the theater. I keep my thoughts with the victims’ families and communities. I echo Mr. Nolan’s comments, the movie theater is my home and it saddens me that someone has violated that safe space.
The Dark Knight Rises is probably the most anticipated summer release this year. Not only due to its subject matter, but also because it officially concludes Christopher Nolan’s cinematic interpretation of the Batman story. Nolan’s dominance is hard to ignore and his influence can be seen in this summer’s The Amazing Spider-Man and the upcoming summer 2013 Man of Steel, which he executive produced. But did his final installment live up to all the hype?
Where The Dark Knight Rises succeeds is mostly in mood, visuals, and giving fans a clear conclusion to the Batman’s story. Firstly, Hans Zimmer must be praised for his score. His score adds a pulse to the entire film and his Batman theme still resonates after three films. Zimmer’s work creates a base for the mood of Nolan’s Gotham, which despite the Dent act (which gives harsher sentences to criminals) is lit just as dark and gloomy as in the previous films. Yet this darkness echos Bruce Wayne’s (Christian Bale) pain, grief, and loss of identity. Bale’s decision at the end of 2008’s The Dark Knight to put away Batman has clearly robbed him of his purpose. This reclusive Wayne finally allows Bale to show Bruce’s orphaned, damaged edges that have clearly deteriorated his personal life.
Bale, for me, has easily been the best Bruce Wayne. Not only do I prefer this darker interpretation of the story, after all Bruce is just a man with expensive resources, but the films are well balanced between the two spheres of his life. Nolan allows Bale to grapple with Bruce’s need for Batman and his ultimate ignorance that he does, in fact, need his life as Bruce as well. Thankfully, Bale embraces the conflict between these two spheres and provides an intensity and depth on screen that cannot compare to previous incarnations of this character. In this film, Michael Caine steps up his game as Bale’s butler, Alfred. The scenes between them are not only poignant and moving, but act as marker’s for Bale’s journey.
Batman’s journey in this film is littered with clear visual winks at the audience and acknowledgements of Batman’s legacy. When Bale first appears donning his once abandoned suit, the music pulsates, and cinematographer, Wally Pfister, shoots his Batman in one shot. From toe to pointy ear as his cape billows behind him and he pulls up a bad guy with just one hand. Pure idealism at best, but also pure fun. Later in the film, Bale as Batman is seen, with one leg up, atop a skyscraper, surveying his city below. And ultimately, it is these visual moments that remind all of us that though Nolan’s interpretation of this comic book character are considered more realistic, he has not forgotten the origin and the thrill of the orphaned boy who becomes a city’s crusader.
However, where The Dark Knight Rises falters is in its female characters, plot anomalies, and simply put…Bane. Unfortunately for this franchise, Nolan is not adept at casting women or let alone directing them. Marion Cotillard’s Miranda comes out of nowhere to seduce Bale’s Bruce, but is giving so little to work with that she seems ancillary to the story. Rumor has it Nolan even re-worked the shooting schedule to accommodate her maternity leave, so to speak, from films. Although she was wonderful in Nolan’s 2010 Inception, this seems to much like she was left to her own devices and came up short. Where the real travesty lies is with Anne Hathaway’s Selina/Catwoman. Thankfully, she does not ruin the film. But one cannot help but begrudge Nolan for not using the character to cast someone completely new and, ahem, interesting. With Hathaway the film’s casting just seems too safe. Her Selina is clean, crisply articulate, and just far too all-American. Personally, I believe Hathaway was probably far too focused slaving away at the gym to fit into her latex suit to bother with developing a character. And at some point we have to concede that Catwoman needs to be a little bit sexy and a little bit dirty, like Bruce. And Hathaway is just not that.
As for plot anomalies there are a few. Some characters will connect Bruce Wayne and Batman rather seamlessly, others apparently take three years to put it together. For a powerful corporation, Wayne Enterprises apparently has some glaring cracks that conveniently show themselves. Yet you almost want to forgive these misgivings as it is clear that Nolan and his co-writer (his brother) had fun writing this film. The Dark Knight Rises has the most one-liners and silly goofs out of the three films. And one walking silly goof is Mr. Tom Hardy as Bane. Thundering and massively built, Hardy tries his hardest (har-har) to act his way out of his face mask. Nothing compared to Heath Ledger’s Joker (but no one will ever top that), Bane’s purpose seems far too simple and literal to mean anything. Apparently he seeks revolution and a chance to give the city back to the people in order to eliminate corruption. An apparently direct analogy to the state of this country, somehow something is lost in translation. Rather Hardy, with a hilarious sort of Sean Connery spoofed voice that is at times inaudible, does all the groundwork for a later reveal that proves he’s just as null and void as his brain.
But Nolan does not succumb to his faults. He gives us an ending. He gives us ever present and loyal Commissioner Gordon (Gary Oldman) and introduces Joseph Gordon-Levitt to more fans as Officer Blake. These strong supporting roles actually carry the film and help to balance out the moments that get out of hand and the plot holes that will leave some shaking their heads. At the end I left the theater sad the films were ending, yet smiling as Batman is forever re-incarnated on screen and like all creative things, never truly an end.