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
Thursday, 22 February 2018
'Black Panther' spoiler free review
It's a fair criticism of the Marvel Cinematic Universe and of comic book movies in general that there is a severe lack of diversity. Black Panther goes a long way in fixing this. Director Ryan Coogler (Creed, Fruitvale Station) has crafted a film that is both a celebration of African culture and heritage and an exploration of Afrofuturism, which is undoubtedly what makes Black Panther so great.
The story picks up very shortly after the the death of King T'chaka in Captain America: Civil War. T'chala (Chadwick Boseman) returns to his home to succeed his late father as the king of Wakanda. Yet troubles from his past are unearthed, and as challenges to his claim emerge, Black Panther must prove himself worthy as king. Other than the death of T'chaka, the narrative of this film feels very self contained from the rest of the MCU. There are throwaway lines and references of course, but on the whole Black Panther feels like it's own story, which is definitely to it's benefit.
In fact, this film is a vast departure from anything we've seen in a Marvel movie to date. Just when you thought you'd seen everything that this world had to offer, they spring this futuristic technological utopia masquerading as a poverty stricken third-world nation. Wakanda itself is mesmerising. It strikes a good balance between other worldly tech, including some very innovative uses for vibranium, whilst still feeling like a real place. We see the bustling city streets and people going about their lives which goes along way to establishing this world. My only want is to spend more time there. The whole aesthetic of the movie is breathtaking. Everything from the costume designs to locations are incredible and offers as realistic an interpretation of African culture that a fictional nation can portray. As perhaps the least qualified person to comment on it (a privileged white male), the links and explorations of African beliefs and traditions in regarding the after life and spirituality are really fascinating. The movie also handles some quite sensitive issues, such as race relations and foreign aid in a sophisticated way that's uncommon for a huge blockbuster.
Just as vibrant and exciting as the nation it's self are the people within it. A primarily black cast in a production of this scale is almost unheard of, but it allows for this film's portrayal of Africa to feel authentic and truly engaging. And there's not a bad performance to be seen. Chadwick Boseman is really terrific. It's clear how a previous role in Message from the King has shaped the basis of his African dialect as it's absolutely spot on, so much so that it still catches me off guard to hear his South Carolina accent in interviews. Beyond that, he balances regality with naivety in his early days as king really well. Letitia Wright's Shuri offers a really funny and charming performance as T'chala's kid sister whilst also serving as this film's 'Q'. (In fact, a lot of this movie feels very reminiscent of classic Bond movies.) It's awesome to see some kick-ass female characters in Dora Milaje, led by the fierce Okoye (Danai Gurira). Lupita Nyong'o and Daniel Kaluuya are also really solid. Winston Duke's M'baku is a surprise standout to me, offering some genuinely hilarious moments in what is on the whole a more seriously toned Marvel film.
Black Panther also features two really strong and entertaining villains, arguably some of the best the MCU has offered. Michael B Jordan's Killmonger is excellent. He's menacing and terrifying but at times you can understand where he's coming from and even agree with some of his reasonings, which is the hallmark of a great villain. The return of Andy Serkis' Klaue is also great. It's always nice to see Serkis when he's not covered in ping-pong balls and his performance here is cold and unhinged whilst also hilariously entertaining.
My only real complaints are very slight. The exposition at the very start, detailing the origins of Wakanda itself is quite clunky, despite being visually pleasing. Whilst the action is all good, there's no real memorable set pieces and the black SUV chase sequence feels very overdone at this point. Similarly, the storyline is nowhere near as unfamiliar as other elements of the film. At times it feels like the narratives of The Lion King and Rocky III have been spliced together which doesn't always mesh, leading to a severe drop off in pace towards the end of the second act. However, an entertaining final battle probably redeems this.
Whilst the narrative of Black Panther is nothing you haven't seen before, the assembly of such a unique cast and the tributes to the heritage of this character make it a truly groundbreaking film. It's fantastic to think that this movie offers a huge number of people the chance to feel represented in cinema, in the same way that Wonder Woman did for young girls. It's quite unlike anything you've ever seen in a superhero movie before now and it's that originality that makes it so special.
4/5 Stars
The story picks up very shortly after the the death of King T'chaka in Captain America: Civil War. T'chala (Chadwick Boseman) returns to his home to succeed his late father as the king of Wakanda. Yet troubles from his past are unearthed, and as challenges to his claim emerge, Black Panther must prove himself worthy as king. Other than the death of T'chaka, the narrative of this film feels very self contained from the rest of the MCU. There are throwaway lines and references of course, but on the whole Black Panther feels like it's own story, which is definitely to it's benefit.
In fact, this film is a vast departure from anything we've seen in a Marvel movie to date. Just when you thought you'd seen everything that this world had to offer, they spring this futuristic technological utopia masquerading as a poverty stricken third-world nation. Wakanda itself is mesmerising. It strikes a good balance between other worldly tech, including some very innovative uses for vibranium, whilst still feeling like a real place. We see the bustling city streets and people going about their lives which goes along way to establishing this world. My only want is to spend more time there. The whole aesthetic of the movie is breathtaking. Everything from the costume designs to locations are incredible and offers as realistic an interpretation of African culture that a fictional nation can portray. As perhaps the least qualified person to comment on it (a privileged white male), the links and explorations of African beliefs and traditions in regarding the after life and spirituality are really fascinating. The movie also handles some quite sensitive issues, such as race relations and foreign aid in a sophisticated way that's uncommon for a huge blockbuster.
Just as vibrant and exciting as the nation it's self are the people within it. A primarily black cast in a production of this scale is almost unheard of, but it allows for this film's portrayal of Africa to feel authentic and truly engaging. And there's not a bad performance to be seen. Chadwick Boseman is really terrific. It's clear how a previous role in Message from the King has shaped the basis of his African dialect as it's absolutely spot on, so much so that it still catches me off guard to hear his South Carolina accent in interviews. Beyond that, he balances regality with naivety in his early days as king really well. Letitia Wright's Shuri offers a really funny and charming performance as T'chala's kid sister whilst also serving as this film's 'Q'. (In fact, a lot of this movie feels very reminiscent of classic Bond movies.) It's awesome to see some kick-ass female characters in Dora Milaje, led by the fierce Okoye (Danai Gurira). Lupita Nyong'o and Daniel Kaluuya are also really solid. Winston Duke's M'baku is a surprise standout to me, offering some genuinely hilarious moments in what is on the whole a more seriously toned Marvel film.
Black Panther also features two really strong and entertaining villains, arguably some of the best the MCU has offered. Michael B Jordan's Killmonger is excellent. He's menacing and terrifying but at times you can understand where he's coming from and even agree with some of his reasonings, which is the hallmark of a great villain. The return of Andy Serkis' Klaue is also great. It's always nice to see Serkis when he's not covered in ping-pong balls and his performance here is cold and unhinged whilst also hilariously entertaining.
My only real complaints are very slight. The exposition at the very start, detailing the origins of Wakanda itself is quite clunky, despite being visually pleasing. Whilst the action is all good, there's no real memorable set pieces and the black SUV chase sequence feels very overdone at this point. Similarly, the storyline is nowhere near as unfamiliar as other elements of the film. At times it feels like the narratives of The Lion King and Rocky III have been spliced together which doesn't always mesh, leading to a severe drop off in pace towards the end of the second act. However, an entertaining final battle probably redeems this.
Whilst the narrative of Black Panther is nothing you haven't seen before, the assembly of such a unique cast and the tributes to the heritage of this character make it a truly groundbreaking film. It's fantastic to think that this movie offers a huge number of people the chance to feel represented in cinema, in the same way that Wonder Woman did for young girls. It's quite unlike anything you've ever seen in a superhero movie before now and it's that originality that makes it so special.
4/5 Stars
Tuesday, 20 February 2018
'Logan Lucky' review
Did anyone believe for even a second that Steven Soderbergh had 'retired' for good? I certainly didn't. After a five year hiatus following Magic Mike (2012), one of the pioneers of modern heist movies makes a welcomed return to cinemas. Logan Lucky maybe feature a very familiar story that offers nothing groundbreaking to the genre, but some slick direction and class acting make it an immensely enjoyable movie.
Soderbergh again teams up with Channing Tatum, who is, as usual, on lovable beefcake duty. Jimmy Logan is a West Virginian miner with a heart of gold and a surprisingly spot on accent. After being knocked down for the umpteenth time, he seeks the assistance of his brother Clyde (Adam Driver) to rob his local NASCAR track on it's most profitable day of the year. Driver's turn as a one-armed, slow talking but quick witted barman is great. He and Tatum share some cracking chemistry and his performance would steal the show, if it wasn't for the presence of Daniel Craig. Bleach blonde hair and those piercing blue eyes mean that he's almost unrecognisable but it's very clear how much fun he's having whilst freed from the shackles of 007. It's a refreshing reminder of just how good a character actor Craig can be and he completely owns every scene he's in. In fact, the characters and their interactions are arguably the strongest element of this film. Without the burden of having to share screen time between an abundance of stars that plagues the Ocean's franchise, Soderbergh allows more than enough time for this movie to slow down and develop it's key players in meaningful and interesting ways.
The true core of a heist movie. though, has to be the planning and execution of the job. Both are handled well in this case. The writers are very careful to only offer snippets of information at a time, allowing for plenty of twists and turns throughout the robbery, all of which are tied up in simplistic yet satisfying fashion. The plan itself is simple enough that you can follow the process but also intriguing enough to maintain your attention.
Unfortunately, as with many of Soderbergh's movies, Lucky Logan lacks that final bit of pizzaz that would elevate it to greatness. Whilst the core trio all get ample time to shine, there are certain characters and plot threads that feel slightly underused, almost to the extent that you question their inclusion. Seth MacFarlane and Sebastian Stan's NASCAR team, whom you might expect to feature prominently, given that heist takes place within a race track, yet the two are reduced to glorified cameos. Similarly, Hilary Swank's late entering FBI agent feels tacked-on and offers very little to the story. After the big pay off of the heist and the plot reaching what feels like a heartfelt and satisfactory conclusion, the movie meanders on and actually robs the movie of the impactful ending that the build up deserved.
Even though it lacks that special something to make it excellent, there's still a lot to enjoy about Lucky Logan. Soderbergh yet again attracts a stellar cast that play off each other brilliantly and the overall balance of a character driven crime-flick is struck really well.
3/5 Stars
Soderbergh again teams up with Channing Tatum, who is, as usual, on lovable beefcake duty. Jimmy Logan is a West Virginian miner with a heart of gold and a surprisingly spot on accent. After being knocked down for the umpteenth time, he seeks the assistance of his brother Clyde (Adam Driver) to rob his local NASCAR track on it's most profitable day of the year. Driver's turn as a one-armed, slow talking but quick witted barman is great. He and Tatum share some cracking chemistry and his performance would steal the show, if it wasn't for the presence of Daniel Craig. Bleach blonde hair and those piercing blue eyes mean that he's almost unrecognisable but it's very clear how much fun he's having whilst freed from the shackles of 007. It's a refreshing reminder of just how good a character actor Craig can be and he completely owns every scene he's in. In fact, the characters and their interactions are arguably the strongest element of this film. Without the burden of having to share screen time between an abundance of stars that plagues the Ocean's franchise, Soderbergh allows more than enough time for this movie to slow down and develop it's key players in meaningful and interesting ways.
The true core of a heist movie. though, has to be the planning and execution of the job. Both are handled well in this case. The writers are very careful to only offer snippets of information at a time, allowing for plenty of twists and turns throughout the robbery, all of which are tied up in simplistic yet satisfying fashion. The plan itself is simple enough that you can follow the process but also intriguing enough to maintain your attention.
Unfortunately, as with many of Soderbergh's movies, Lucky Logan lacks that final bit of pizzaz that would elevate it to greatness. Whilst the core trio all get ample time to shine, there are certain characters and plot threads that feel slightly underused, almost to the extent that you question their inclusion. Seth MacFarlane and Sebastian Stan's NASCAR team, whom you might expect to feature prominently, given that heist takes place within a race track, yet the two are reduced to glorified cameos. Similarly, Hilary Swank's late entering FBI agent feels tacked-on and offers very little to the story. After the big pay off of the heist and the plot reaching what feels like a heartfelt and satisfactory conclusion, the movie meanders on and actually robs the movie of the impactful ending that the build up deserved.
Even though it lacks that special something to make it excellent, there's still a lot to enjoy about Lucky Logan. Soderbergh yet again attracts a stellar cast that play off each other brilliantly and the overall balance of a character driven crime-flick is struck really well.
3/5 Stars
Sunday, 28 January 2018
'The Greatest Showman' Review
'The Musical' is the latest cinematic genre to undergo a revival in the eyes of Hollywood. Ever since the immense success of LA LA Land, people have been eagerly anticipating the arrival of another to determine whether the return was a one off or if musicals are really back at their best for good. The Greatest Showman suggest its the latter. It may not be "the greatest show", but it is a visually stunning and expertly choreographed movie that is at times joyous to watch.
The Greatest Showman is a much glorified account of the life of Phineas Taylor Barnum (Hugh Jackman), orphaned and penniless but determined to provide a magical life for his childhood sweetheart Charity (Michelle Williams) and his daughters. His desire and innovation leads him to gamble all he has on creating a show in which people "can see things they've never seen before". His collection of oddities are controversial and successful in equal measure. On Barnum's road to greatness, he must decide what is truly important to him.
Undoubtedly, the strongest element of this film is the musical numbers. I didn't personally love them all, but on the whole the performances are vibrant, exuberant and thoroughly entertaining. The original songs by Benj Pasek and Justin Paul, the award-winning lyricists for LA LA Land, are paired brilliantly with exceptional choreography of the set-pieces to guarantee that each is as entertaining as the last. Every time Barnum's show performs is breathtaking. Visually stunning, with such bright and varied colour pallets and characters. It took almost all of my reserve to avoid stomping and clapping along in the theatre. Zac Efron and Zendaya's rope performance is also great - mesmerising at times and very moving. There are some very obvious moments of CGI in the numbers, many of which look really shaky.
A stellar cast give some great performances, in particular Hugh Jackman. His background in musical theatre really pays dividend here, as their is inherent entertainment in watching him sing and dance. His is the perfect fit for the "greatest showman" on earth. Outside of the music, he offers an expectedly charismatic turn as Barnum. Zac Efron also really shines. He's (almost) as charming as Jackman and his internal conflict of being torn between two worlds is handled really well. Of Barnum's "freak show", Zendaya and Keala Settle both stand out and feature heavily in the best songs. Rebecca Ferguson is also very impressive. Michelle Williams could be accused of over doing it at times. Austyn Johnson and Cameron Seely deserve special mention for never once crossing the line into annoying child actors.
A valid criticism of The Greatest Showman is that the narrative doesn't take advantage of many of the plot that it establishes.The overall sentiment, that it is okay to be yourself no matter what anyone else thinks, is handled well enough and offers a heartfelt balance to the ecstasy of the song and dance. However, there's debate about the ethics of changing the story of Barnum, who in reality was a really awful man who exploited people's physical and mental disabilities for his own financial gain. Yet, this is ever so briefly addressed in the movie. Whilst it would have been quite intriguing to see a more accurate depiction of his life, the true grittiness is sacrificed in the name of keeping the affair family friendly. On the other hand, I would argue that there's more than enough darkness in the media right now (and the world for that matter), so an exhilarating romp such as this is more than welcome. As Barnum himself says "When was the last time you smiled, or had a good laugh?". This movie certainly offers you that.
Entertaining performances and enchanting musical numbers really propel this film. With Jackman at the helm, it's a classy, charismatic and comedic event. It's by no means perfect, yet it offers a delightful spectacle that will keep you hooked throughout. And more importantly it will make you smile.
3/5 Stars
The Greatest Showman is a much glorified account of the life of Phineas Taylor Barnum (Hugh Jackman), orphaned and penniless but determined to provide a magical life for his childhood sweetheart Charity (Michelle Williams) and his daughters. His desire and innovation leads him to gamble all he has on creating a show in which people "can see things they've never seen before". His collection of oddities are controversial and successful in equal measure. On Barnum's road to greatness, he must decide what is truly important to him.
Undoubtedly, the strongest element of this film is the musical numbers. I didn't personally love them all, but on the whole the performances are vibrant, exuberant and thoroughly entertaining. The original songs by Benj Pasek and Justin Paul, the award-winning lyricists for LA LA Land, are paired brilliantly with exceptional choreography of the set-pieces to guarantee that each is as entertaining as the last. Every time Barnum's show performs is breathtaking. Visually stunning, with such bright and varied colour pallets and characters. It took almost all of my reserve to avoid stomping and clapping along in the theatre. Zac Efron and Zendaya's rope performance is also great - mesmerising at times and very moving. There are some very obvious moments of CGI in the numbers, many of which look really shaky.
A stellar cast give some great performances, in particular Hugh Jackman. His background in musical theatre really pays dividend here, as their is inherent entertainment in watching him sing and dance. His is the perfect fit for the "greatest showman" on earth. Outside of the music, he offers an expectedly charismatic turn as Barnum. Zac Efron also really shines. He's (almost) as charming as Jackman and his internal conflict of being torn between two worlds is handled really well. Of Barnum's "freak show", Zendaya and Keala Settle both stand out and feature heavily in the best songs. Rebecca Ferguson is also very impressive. Michelle Williams could be accused of over doing it at times. Austyn Johnson and Cameron Seely deserve special mention for never once crossing the line into annoying child actors.
A valid criticism of The Greatest Showman is that the narrative doesn't take advantage of many of the plot that it establishes.The overall sentiment, that it is okay to be yourself no matter what anyone else thinks, is handled well enough and offers a heartfelt balance to the ecstasy of the song and dance. However, there's debate about the ethics of changing the story of Barnum, who in reality was a really awful man who exploited people's physical and mental disabilities for his own financial gain. Yet, this is ever so briefly addressed in the movie. Whilst it would have been quite intriguing to see a more accurate depiction of his life, the true grittiness is sacrificed in the name of keeping the affair family friendly. On the other hand, I would argue that there's more than enough darkness in the media right now (and the world for that matter), so an exhilarating romp such as this is more than welcome. As Barnum himself says "When was the last time you smiled, or had a good laugh?". This movie certainly offers you that.
Entertaining performances and enchanting musical numbers really propel this film. With Jackman at the helm, it's a classy, charismatic and comedic event. It's by no means perfect, yet it offers a delightful spectacle that will keep you hooked throughout. And more importantly it will make you smile.
3/5 Stars
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