Wes Anderson is a 'marmite' director. Yet whether you love or loathe his films, it's impossible to not admire his talents. His style is unconventional and distinctive, but over the course of his career he has perfected the skills that have become synonymous with his work. His latest effort is littered with such techniques that make it feel like vintage Anderson. However, it's peculiar narrative and setting separates Isle of Dogs from the pack, making it feel fresh and completely original.
Set in a not too distant future, an outbreak of 'Dog Flu' in Japan has caused Mayor Kobayashi to quarantine all of the district's dogs on 'Trash Island'. Youngster Atari (Koya Rankin) travels to the wasteland, where he enlists the help of a pack of exiled canines to find his lost dog Spots (Liev Schreiber).
This film looks incredible. The stop-motion animation, as seen in Fantastic Mr Fox, is impeccable. The dogs themselves are adequately rugged and scruffy from their exile, but this only really adds to their cuteness. 'Trash Island' itself has a strange beauty to it - between the mountains of man-made waste that are crawling with rats there are haunting skylines and caves illuminated by their glass bottle ceilings. The cinematography is meticulous - you can sense how much effort has gone into each and every frame. Anderson's obsession with the subject's centrality on screen features heavily, but it's the smaller, mostly inconsequential movements of those in the background that are particularly special. The work that must go into creating the incredibly complex tracking shots that naturally follow the camera is mind boggling.
As a stark contrast to the poverty that the dogs live in, Megasaki City offers a vibrant and authentic depiction of Japan. Some have criticised that Megasaki is just a collection of racial stereotypes, but for me it provided an interesting insight in Japanese culture, as much as a fictional city can at least. We see taiko drumming and traditional Japanese performing arts, which go a long way to make the experience feel genuine and respectful. There is also a very conscious decision from Anderson to not translate most of the Japanese spoken throughout. However, there is never a language barrier presented and you can understand exactly what the characters are saying without knowing any of the words being used, which is no mean feat, especially in an animated movie.
Typically of Anderson's movies, the sheen of lighthearted and comedic fun covers some grim and grizzly themes. On the one hand you have scraps that transform into clouds of dust that look fresh out of a Beano comic, whilst on the other you have a dog biting clean though another's ear and a preparation of sushi that somehow feels visceral. There are also some not so subtle political subtexts that you can read into if you wish to. But whilst all that unfolds, you find a tender and heartwarming story of a boy and his dog at the core. The transformation of Bryan Cranston's Chief from self-proclaimed 'alpha-dog' into adoring companion is both moving and humorous.
The voice cast itself is amazing, the kind that only a director of Anderson's calibre could really attract. The balance of so many great actors is a little off - Edward Norton and Scarlett Johansson really shine whilst Bill Murray and Jeff Goldblum feel almost criminally under utilised.
Isle of Dogs is an original and delightful experience. The animation and the camerawork is lovingly crafted around a collection of crazy characters and an even crazier plot. In fact, it's absolutely (barking) mad, but that's what makes it so brilliant.
4/5 Stars
Friday 30 March 2018
Friday 16 March 2018
'Annihilation' Review
Alex Garland took his sweet time to become a director. He started out as a writer, contributing to both of Danny Boyle's 28 Days Later and Sunshine as well as writing the screenplay for Dredd, all of which are fantastic. Then, his directorial debut Ex Machina turned out to be not just my favourite film of 2016 but also one of the best sci-fi movies ever made. Just having his name associated with Annihilation was enough to get me pumped for it's release. Unfortunately, unlike his previous works, Annihilation hasn't resonated with me.
The story follows Lana (Natalie Portman) who goes in search of answers after the mysterious disappearance and reappearance of her husband Kane (Oscar Isaac). It transpires that Kane is the lone survivor of numerous covert operations into 'The Shimmer', an otherworldly dimension that is gradually encompassing the coast of Florida. As her husband's mind and physical health begin to deteriorate, Lana volunteers to accompany a team into this zone to try and uncover the truth.
Given the current state of Hollywood, the timing of this film is perfect. An entirely female team at the core of the narrative is welcomed and the move makes little to no reference to the concept of gender. It's a band of badass female characters, so what? The film focuses on their characteristics rather than their genders, just as it should. Each of the five is skilled in their own ways and they balance well with each other on screen. Natalie Portman gives a very strong performance, to no one's surprise. I was certain that, after being burned by both Marvel and Star Wars in the past, she was done with this genre for good. However, she handles a conflicted and confused character extremely well, whilst also sharing great chemistry with Isaac. Tessa Thompson is also great, giving a nuanced and quietly saddening turn. As for the remainder of the team, whilst the actresses are all solid, I didn't really feel we were given enough time to connect with certain members. Attempts are made to establish why these characters would willingly sign up for what is essentially a 'suicide mission'. However, as the 2 hour run time began to drag in the middle, I could feel myself becoming gradually less interested in individuals.
Visually the whole film is on point, but 'The Shimmer' itself is the highlight. In this regard, it's a shame that Annihilation came straight to Netflix, because visual designs this good deserve to be seen on a big screen. Past the bubble esque perimeter, we are treated to a world full of rich and vibrant colours. The landscapes feel real but with bizarre almost psychedelic twists. The scenery and the creatures within are a good mix of beautiful and terrifying. Whilst he never crosses the threshold in full on horror, Garland certainly ramps up the creepiness. From the second they enter 'The Shimmer', a feeling of uneasiness is almost constant, evolving into tension and terror as the film progresses.
To his credit, Garland attempts to draw from other influences in order to give this movie an unconventional edge. However, so many elements are borrowed that it's impossible for them to mesh together and Annihilation ends up suffering from a sort of identity crisis - it doesn't know what kind of film it is. Features of more typical sci-fi are mismatched with glimpses of body horror, flat out thrillers, and a desire to elevate itself to a thought provoking, high-art piece. Reports suggested that Paramount sold this film to Netflix as it was deemed 'too intellectual' for a mainstream release. Admittedly, the movie does raise some profound points about biology and psychology, especially a debate over the true definition of 'annihilation'. Yet, it sort of feels out of place in the story that was established in the opening hour. At times, the film is just weird for the sake of being weird, never offering any real pay off to the questions it raises. And, despite watching the ending twice, I still have no idea what is going on at the conclusion. Some have praised it for not offering any easy answers to the audience, but to me the ending is less ambiguous and more unfinished.
As much as I hate to say it, my overwhelming feeling towards Annihilation was one of disappointment. It's bold in it's attempts to strive for perfection in numerous areas, but doesn't really achieve it in any of them.
3/5 Stars
The story follows Lana (Natalie Portman) who goes in search of answers after the mysterious disappearance and reappearance of her husband Kane (Oscar Isaac). It transpires that Kane is the lone survivor of numerous covert operations into 'The Shimmer', an otherworldly dimension that is gradually encompassing the coast of Florida. As her husband's mind and physical health begin to deteriorate, Lana volunteers to accompany a team into this zone to try and uncover the truth.
Given the current state of Hollywood, the timing of this film is perfect. An entirely female team at the core of the narrative is welcomed and the move makes little to no reference to the concept of gender. It's a band of badass female characters, so what? The film focuses on their characteristics rather than their genders, just as it should. Each of the five is skilled in their own ways and they balance well with each other on screen. Natalie Portman gives a very strong performance, to no one's surprise. I was certain that, after being burned by both Marvel and Star Wars in the past, she was done with this genre for good. However, she handles a conflicted and confused character extremely well, whilst also sharing great chemistry with Isaac. Tessa Thompson is also great, giving a nuanced and quietly saddening turn. As for the remainder of the team, whilst the actresses are all solid, I didn't really feel we were given enough time to connect with certain members. Attempts are made to establish why these characters would willingly sign up for what is essentially a 'suicide mission'. However, as the 2 hour run time began to drag in the middle, I could feel myself becoming gradually less interested in individuals.
Visually the whole film is on point, but 'The Shimmer' itself is the highlight. In this regard, it's a shame that Annihilation came straight to Netflix, because visual designs this good deserve to be seen on a big screen. Past the bubble esque perimeter, we are treated to a world full of rich and vibrant colours. The landscapes feel real but with bizarre almost psychedelic twists. The scenery and the creatures within are a good mix of beautiful and terrifying. Whilst he never crosses the threshold in full on horror, Garland certainly ramps up the creepiness. From the second they enter 'The Shimmer', a feeling of uneasiness is almost constant, evolving into tension and terror as the film progresses.
To his credit, Garland attempts to draw from other influences in order to give this movie an unconventional edge. However, so many elements are borrowed that it's impossible for them to mesh together and Annihilation ends up suffering from a sort of identity crisis - it doesn't know what kind of film it is. Features of more typical sci-fi are mismatched with glimpses of body horror, flat out thrillers, and a desire to elevate itself to a thought provoking, high-art piece. Reports suggested that Paramount sold this film to Netflix as it was deemed 'too intellectual' for a mainstream release. Admittedly, the movie does raise some profound points about biology and psychology, especially a debate over the true definition of 'annihilation'. Yet, it sort of feels out of place in the story that was established in the opening hour. At times, the film is just weird for the sake of being weird, never offering any real pay off to the questions it raises. And, despite watching the ending twice, I still have no idea what is going on at the conclusion. Some have praised it for not offering any easy answers to the audience, but to me the ending is less ambiguous and more unfinished.
As much as I hate to say it, my overwhelming feeling towards Annihilation was one of disappointment. It's bold in it's attempts to strive for perfection in numerous areas, but doesn't really achieve it in any of them.
3/5 Stars
Sunday 4 March 2018
'Mute' Review
Netflix is changing the landscape of cinema. The appeal of having 'blockbuster' movies sent straight to your living room is very apparent, and as a result the streaming service continues to throw huge out amounts of money to attract projects to their brand, with limited success so far. Most recently Bright and The Cloverfield Paradox have been both critically and commercially panned, and whilst Mute is considerably better than what has come before it, it still doesn't quite deliver on it's potential.
If you are hoping for the spiritual sequel to Duncan Jones' incredible 2009 debut Moon that Mute was billed as, you might be dissapointed. It turns out to be less of a followup and more of a fresh story that takes place in the same world. We get an extremely brief glimpse at the fallout of Sam Bell's court hearing, but the easter eggs leaving you craving more in place of the story we get.
Speaking of story, the narrative is a little bit all over the place. Our protagonist is Leo (Alexander Skarsgard), a towering, silent barman who is trying to solve the mystery of his missing girlfriend Naadirah (Seyneb Saleh). Skarsgard does a decent job at portraying the simmering frustration of not being able to communicate. His muteness, as well as his Amish faith, is made all the more interesting by the usual absence of such traits dystopian settings. Watching him struggle to get by in a world dominated by technology that either his faith or his silence forbids him to use is some of the most intriguing stuff in this film and I would have loved to have seen more of it. Yet his story is bizarrely swept aside for lengthy intervals, meaning we never really get time to connect with our hero.
Instead, we spend ample time in a weird B-plot featuring Paul Rudd and Justin Theroux as sleazy underground surgeons. The performances of these two are great. It's nice to see Rudd able to play against type for a change. He is, of course, charismatic and hilarious but for the most part a deeply disturbing and unpleasant man. Theroux is equally as awful and the twisted bromance that the two men share is morbidly entertaining. Tonally, Mute feels a lot like a detective noir piece, in that there really isn't a likeable character in sight, which for the most part is used well. However, there are certain revelations about characters which cross the line from unpleasant into uncomfortable.
There is some relief though in the world that the story takes place in. Even with it's modest budget, it's clear that Jones has had this project in the works for some time, as every aspect feels meticulously planned and looks great. The cyberpunk streets of 2052 Berlin are very reminiscent of Blade Runner, in the best possible ways. There's not a bad example of CGI to be seen, and the world is grounded enough to feel real, even with the flying cars zipping by. Sadly, we only get snippets of time to enjoy the view before we get sucked back into a mystery that gets both more convoluted and less interesting as it's spread thin over the 2 hour runtime.
Mute is far from Duncan Jones best work. If you go in expecting another Moon or Source Code then you'll likely be dissapointed. However, is still a perfectly watchable film. It's got some very enticing elements and good characters that are sadly never fully developed, but the world building and visual designs just about excuse the flaws in the story.
3/5 Stars
If you are hoping for the spiritual sequel to Duncan Jones' incredible 2009 debut Moon that Mute was billed as, you might be dissapointed. It turns out to be less of a followup and more of a fresh story that takes place in the same world. We get an extremely brief glimpse at the fallout of Sam Bell's court hearing, but the easter eggs leaving you craving more in place of the story we get.
Speaking of story, the narrative is a little bit all over the place. Our protagonist is Leo (Alexander Skarsgard), a towering, silent barman who is trying to solve the mystery of his missing girlfriend Naadirah (Seyneb Saleh). Skarsgard does a decent job at portraying the simmering frustration of not being able to communicate. His muteness, as well as his Amish faith, is made all the more interesting by the usual absence of such traits dystopian settings. Watching him struggle to get by in a world dominated by technology that either his faith or his silence forbids him to use is some of the most intriguing stuff in this film and I would have loved to have seen more of it. Yet his story is bizarrely swept aside for lengthy intervals, meaning we never really get time to connect with our hero.
Instead, we spend ample time in a weird B-plot featuring Paul Rudd and Justin Theroux as sleazy underground surgeons. The performances of these two are great. It's nice to see Rudd able to play against type for a change. He is, of course, charismatic and hilarious but for the most part a deeply disturbing and unpleasant man. Theroux is equally as awful and the twisted bromance that the two men share is morbidly entertaining. Tonally, Mute feels a lot like a detective noir piece, in that there really isn't a likeable character in sight, which for the most part is used well. However, there are certain revelations about characters which cross the line from unpleasant into uncomfortable.
There is some relief though in the world that the story takes place in. Even with it's modest budget, it's clear that Jones has had this project in the works for some time, as every aspect feels meticulously planned and looks great. The cyberpunk streets of 2052 Berlin are very reminiscent of Blade Runner, in the best possible ways. There's not a bad example of CGI to be seen, and the world is grounded enough to feel real, even with the flying cars zipping by. Sadly, we only get snippets of time to enjoy the view before we get sucked back into a mystery that gets both more convoluted and less interesting as it's spread thin over the 2 hour runtime.
Mute is far from Duncan Jones best work. If you go in expecting another Moon or Source Code then you'll likely be dissapointed. However, is still a perfectly watchable film. It's got some very enticing elements and good characters that are sadly never fully developed, but the world building and visual designs just about excuse the flaws in the story.
3/5 Stars
Saturday 3 March 2018
'Journey's End' Review
In extremely fortunate timing, 2018 brings a fourth cinematic adaptation of R.C.Sherriff's Journey's End, released a matter of months before I sit an A-Level exam featuring the aforementioned play. First performed a little over a decade after the end of World War I, when the wounds of the living were still fresh, the play gave a raw and understandably angry account. Saul Dibb's interpretation, thanks to some incredible performances from an outstanding cast, is equally raw and angry.
Young Lieutenant Raleigh (captured well by Asa Butterfield) symbolises the 'plucky' recruit fresh out of school. Clearly influenced by the blatant lies published by Brooke and Sassoon, he is eager to see the war for himself. Watching that excitement being systematically taken from him as the true horrors unfold in front of him might be the biggest tragedy of the movie. Sam Claflin gives his best performance ever as the tormented Captain Stanhope. He is so painfully conflicted and bearing the strain of being both a good man and a good captain has him on the verge of breaking point and Claflin portrays this brilliantly. There's one scene where whilst sending a team of men to their almost certain deaths, he's playing several emotions at once and all of them are believable. His rare moments of weakness as he realises all he has fought to protect is slipping away are sensationally handled.
Paul Bettany is also excellent as Stanhope's number 2, Osborne. Lovingly referred to as 'uncle' by his fellow officers, he mothers Stanhope - even tucking him in at one point. He incarnates the familial ties that the men formed with each other. His motivation to remain positive and protect the youngsters from the direness of their reality - addressing the stupidly unnecessary raid with "At least the weather's held off' - is incredibly moving. Stephan Graham is great as Trotter and Toby Jones is fantastic as the chef Mason, who offers welcome moments of satire - he'll make you the best 'yellow soup' in France.
No attempt is made to sugarcoat or trivialise the horrors of war - every aspect of trench warfare is brought to life in excruciatingly brutal fashion. Rat infested hellholes caked in endless mud. The cinematography, and especially the lighting, in each and every scene is superb. Stark contrast between light and dark throughout that simulate the development of the characters. Also, just as Sherriff intended with his play, we get to see the perhaps unexpected lengthy waiting periods. We of course see the chaos and atrocity of the slaughter, which all looks excellent on a relatively small budget. Yet it's balanced perfectly with the damage that is caused in the anticipation and the aftermath of battle. Neither the soldiers nor the audience get any respite. Witnessing such an unfiltered representation of 'life' in the trenches makes it all the more heartbreaking to see the tragedy the men are led into.
This film also does an excellent job of reiterating just how ridiculous World War I was. The infamous quote of 'lions led by donkeys' has never been more evident. Whilst the big-wig generals (the only ones with the actual power to change things) get fresh fish sent up the line, innocent men and boys are forced to sacrifice their lives for literally no gain. The lack of any exhilarating action is very deliberate. We get time to slow down and understand these characters to remind us that Claflin, Bettany and Co are playing real people. They lived disgracefully short lives and they died for their countries in the most futile way. Journey's End goes to great lengths to remind us of that.
This spectacular cast really cherishes carrying a narrative that is just as powerful now as it was in 1929. No sentimentality. No hyperbole. A brutally honest depiction of life at war and a reminder of just how futile it all was. Immensely moving and extremely heartfelt. Amazing.
5/5 Stars
Young Lieutenant Raleigh (captured well by Asa Butterfield) symbolises the 'plucky' recruit fresh out of school. Clearly influenced by the blatant lies published by Brooke and Sassoon, he is eager to see the war for himself. Watching that excitement being systematically taken from him as the true horrors unfold in front of him might be the biggest tragedy of the movie. Sam Claflin gives his best performance ever as the tormented Captain Stanhope. He is so painfully conflicted and bearing the strain of being both a good man and a good captain has him on the verge of breaking point and Claflin portrays this brilliantly. There's one scene where whilst sending a team of men to their almost certain deaths, he's playing several emotions at once and all of them are believable. His rare moments of weakness as he realises all he has fought to protect is slipping away are sensationally handled.
Paul Bettany is also excellent as Stanhope's number 2, Osborne. Lovingly referred to as 'uncle' by his fellow officers, he mothers Stanhope - even tucking him in at one point. He incarnates the familial ties that the men formed with each other. His motivation to remain positive and protect the youngsters from the direness of their reality - addressing the stupidly unnecessary raid with "At least the weather's held off' - is incredibly moving. Stephan Graham is great as Trotter and Toby Jones is fantastic as the chef Mason, who offers welcome moments of satire - he'll make you the best 'yellow soup' in France.
No attempt is made to sugarcoat or trivialise the horrors of war - every aspect of trench warfare is brought to life in excruciatingly brutal fashion. Rat infested hellholes caked in endless mud. The cinematography, and especially the lighting, in each and every scene is superb. Stark contrast between light and dark throughout that simulate the development of the characters. Also, just as Sherriff intended with his play, we get to see the perhaps unexpected lengthy waiting periods. We of course see the chaos and atrocity of the slaughter, which all looks excellent on a relatively small budget. Yet it's balanced perfectly with the damage that is caused in the anticipation and the aftermath of battle. Neither the soldiers nor the audience get any respite. Witnessing such an unfiltered representation of 'life' in the trenches makes it all the more heartbreaking to see the tragedy the men are led into.
This film also does an excellent job of reiterating just how ridiculous World War I was. The infamous quote of 'lions led by donkeys' has never been more evident. Whilst the big-wig generals (the only ones with the actual power to change things) get fresh fish sent up the line, innocent men and boys are forced to sacrifice their lives for literally no gain. The lack of any exhilarating action is very deliberate. We get time to slow down and understand these characters to remind us that Claflin, Bettany and Co are playing real people. They lived disgracefully short lives and they died for their countries in the most futile way. Journey's End goes to great lengths to remind us of that.
This spectacular cast really cherishes carrying a narrative that is just as powerful now as it was in 1929. No sentimentality. No hyperbole. A brutally honest depiction of life at war and a reminder of just how futile it all was. Immensely moving and extremely heartfelt. Amazing.
5/5 Stars
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