Steven Spielburg is undoubtedly one of the greatest directors to ever live. However, the quality of his movies is steadily declining. In fact, I would argue he hasn't made a universally adored film in over a decade. Unfortunately, Ready Player One is more of the same. There are fleeting moments that feel reminiscent of the classics from his earlier career. Yet, they are only brief glimpses that get lost amongst the unbridled chaos that plagues this film.
In the year 2045, people choose to escape the hellish conditions of the real world in the OASIS, an fully immersive artificial reality in which you can 'go anywhere, be anyone and do anything'. The creator James Halliday (Rylance) has left his immense fortune and ownership of the OASIS to the winner of three challenges designed to find a worthy heir. Unlikely hero Wade Watts (Sheridan) teams up with his gang of friends to win the contest and prevent the villainous IOI, led by Nolan Sorrento (Mendelsohn), from privatising their playground.
I should mention that I've never read Ernest Cline's novel of the same name that this movie is based on. I tried. The one chapter I managed to get through was just the protagonist reeling off a long and arduous list of all the pop culture references he knows. Regrettably, this has bled over into the movie. There are numerous moments where the already bare-thin plot grinds to a halt so that Wade can prove to us all that he knows more about Battlestar Galactica than you do. To his credit, Spielberg goes all in with the references. It's essentially a moving version of 'Where's Wally?'. There must be millions of references throughout to all forms of media: movies, books, games, music - if you can picture it it's probably in this film in some capacity. Admittedly, it's quite fun to search through seemingly endless waves of avatars to find your favourite characters. At least, at first. However, the movie very quickly crosses the line into 'over the top'. I'm confident that no matter how many times you watched this film you would never be able to catch them all, which in this instance is detrimental to the movie. In the end there are simply too many references, meaning that it's impossible to ever focus on any one individual, which draws you right out of the narrative and massively lowers any of the stakes.
When the film does narrow it's focus on specific elements, it works so much better. The best set piece in the film, for example, is a drawn out tribute to Kubrick's The Shinning. Exploring a impressively accurate recreation of The Overlook Hotel with a few twists and turns thrown in along the way is very engaging (may even cross over into full horror at one point) and I only wish there were more scenes like it. The opening challenge is also really entertaining. Watching the DeLorean, the A-Team' van and the Akira bike race, whilst trying to avoid King Kong and a T-Rex is undeniably cool. But by the end, so much has been crammed into the climatic final battle that it becomes a huge disappointment. So much is going on on screen at once that any sense of realism quickly vanishes and you're left with a bunch of indistinguishable cartoons crashing into each other.
The performances are on the most part pretty solid. Ben Mendelsohn is expectedly strong, but it's shame to see him being typecast as a one-note villain - you could copy and paste his character from Rogue One into this a probably not notice the difference. Tye Sheridan and Olivia Cooke are both fine, but for whatever reason I never found myself relating or even caring about what happened to them, or any of the heroes for that matter. Mark Rylance is great and he shares quirky and genuine chemistry with Simon Pegg. The shift in their relationship is one of the most intriguing developments in the movie, but sadly it's cast aside for less interesting protagonists.
To me, Ready Player One is certainly not Spielberg's 'return to form' as some have labeled it. There are some redeeming moments, glimpses of a better movie within this one. Yet, on the whole it's a huge disappointment. What was intended to be a celebration of pop culture gradually devolves into an incoherent mess. It's less of a movie than it is a cultural recycling bin that's way too full.
2/5 Stars
Friday, 6 April 2018
Sunday, 1 April 2018
My top 10 favourite films of all time
When I set out to write this list, I thought it would be a brisk and enjoyable process. I was wrong. I'd forgotten a crucial factor - that I love film. In my humble opinion, it's the purest and yet most complex art form and it's that complexity that makes clarifying the 'best' movie such a difficult task. There's an endless amount of amazing movies out there and they are all brilliant in very different ways. Because of this, my list of 'favourite' films changes on the hour depending on my mood. If you asked me this question tomorrow, I'd probably give you a completely different answer. But then again, that's part of the fun. So, as of right now anyway, these are my top 10 favourite films of all time. (feel free to leave some of your own in the comments below)
10. The LEGO Movie (2014)
Intelligent, hilarious and so much more than the shameless cash-grab is was initially perceived to be. The comedic talents of an all star cast are showcased under the improv heavy environment Phil Lord and Chris Miller create in their projects. The attention to detail in visual gags and the design choices of the animation is staggering, the humour is well balanced and irreverent and there's a surprisingly heartfelt emotional payoff. The best endorsement for LEGO that the brand could have ever hoped for. The LEGO Movie will have your inner 10 year old jumping for joy.
9. Anchorman: The Legend of Ron Burgundy (2004)
Probably the movie I've seen more times than another. Everybody has those comedies that are integral in crafting a person's sense of humour, and in my case Ron Burgundy is the moustached linchpin of what I understand to be comedy. The humour is somehow both crass yet tasteful at the same time, and there are so many jokes throughout that you could watch Anchorman 100 times and still find something new to laugh at. Arguably Will Ferrel's best work and his chemistry with Carell, Rudd and Koechner is incredible. Up there with the most quotable movies ever made. 60% of the time, you'll love it every time.
8. Eternal Sunshine of the Spotless Mind (2004)
I don't love Jim Carrey, but his performance in Eternal Sunshine of the Spotless Mind is essential to the immense impact of the narrative. Taking the universal experience of going through a traumatic breakup and presenting it in a way that feels both authentic and totally unexpected hits the emotional sweet spot expertly. Some of the scenes crafted are genuinely breathtaking - Joel's sprint through his childhood is dizzying to watch. A movie that opened my eyes to exactly what film as an art form is capable of. If you haven't seen it, you must.
7. Whiplash (2014)
As Charlie Parker once said, "They teach you there's a boundary line to music. But, man, there's no boundary line to art". The umbrella theme may be drumming, but in reality Whiplash is about sacrifice, revenge and how the line between dedication and obsession can easily be blurred. There is literally nothing wrong with it. Not a frame is wasted in a rather lean 107 minute runtime - every single scene offers something significant. The music throughout is incredible, much of which is played by Miles Teller himself, who is fantastic. The crowning jewel is J.K. Simmons. I'd equate his character to Dr Cox from Scrubs on steroids. Emotionally and physically abusive at almost every chance he gets, he is almost otherworldly in his villainy. Yet, at the time, his character's relationship with Teller is so brutally relatable. His Oscar winning performance is to me one of the greatest supporting turns in the history of cinema.
6. The Dark Knight (2008)
I love Christopher Nolan. I also love Batman. It was inevitable that I was going to love Nolan's gritty superhero trilogy. The Dark Knight, however completely transcends the genre of a superhero movie. It's outstanding in every aspect. Incredible action set pieces that are a perfect blend of practical and digital effects. Gripping and gritty throughout with no dull moments in between. Amazing performances from the entire cast. In my mind, Heath Ledger's Joker is the best cinematic villain of all time, and one of the greatest performances ever given. His posthumously awarded Oscar is one of the most deserved in the Academy Awards history.
5. Hunt for the Wilderpeople (2016)
Taika Watiti is quickly becoming one of my favourite directors and Hunt for the Wilderpeople is the film that introduced me to his immense talent. The balance of cheeky and dark humour is spot on, as you'd expect from Watiti, but it's intertwined with a narrative filled with genuine heart. Julian Dennison's breakout performance is hilarious and his presence on screen even rivals that of veteran Sam Neil, who of course smashes this role. Seeing their relationship flourish over the course of the film is hugely satisfying and leads to a tear-jerking conclusion. It's heart warming, tragic and like all great comedies gets funnier every time you watch it.
4. LA LA Land (2016)
As well as reminding the world of how great musicals are, LA LA Land pays fitting homage to the classics whilst offering a fresh and original take on the genre. Every part of the film is gorgeous, especially the bold and inventive uses of colour. Damien Chazelle is a master of framework and this allows for the stunning choreography to be appreciated to the full. Ryan Gosling and Emma Stone both give fantastic performances. The music is impossibly catchy and upbeat. Yet, underneath the feel good tone is a powerful sentiment of choosing what's really important to you and a twist on a typical love story. There's a reason that it nearly won 'Best Picture'.
3. Captain America: Civil War (2016)
As soppy as it may sound, the Marvel Cinematic Universe is one of the main reasons that I love movies. A culmination of everything that has come before it, Civil War serves a wish fulfilment to comic-book and superhero fans everywhere. Almost as entertaining as watching the Avengers Assemble is watching them beat the crap out of each other. Tense and enthralling action set pieces are rife throughout, including not one but two of the best scenes from any comic-book movie. However, whilst the digital effects and action beats are flawless, the conflict is so entertaining is you completely buy the reasoning and motivations behind it. Robert Downey Jr and Chris Evans draw from years of experience as their respective characters and as a result offer two outstanding performances. It might well be eclipsed by Infinity War, but for now it stands the best Marvel movie and one of my all-time favourites.
2. Fantastic Mr Fox (2009)
I loved Roald Dahl as a child, in particular Fantastic Mr Fox, but Wes Anderson's adaptation somehow manages to improve a near perfect story. It's a very Anderson movie in all the best ways. The stop-motion animation is simply brilliant, with ridiculous amounts of effort going into making the puppets feel alive. The framing and the look of each shot is perfect, with smooth lateral and vertical movements that always keep the frame centred on exactly what you want to be looking at. The pragmatic delivery of the lines from an amazing cast blends some darker subjects with unconventionally hilarious comedy. If you don't like Anderson's movies, then it's definately not for you. If you do, this is one of his best. A truly enjoyable movie.
Before I reveal my number one, here are some honourable mentions (Shut up - it's hard to narrow it down to 10!) The following are all unlucky not to make my list:
Kingsman: The Secret Service
10. The LEGO Movie (2014)
Intelligent, hilarious and so much more than the shameless cash-grab is was initially perceived to be. The comedic talents of an all star cast are showcased under the improv heavy environment Phil Lord and Chris Miller create in their projects. The attention to detail in visual gags and the design choices of the animation is staggering, the humour is well balanced and irreverent and there's a surprisingly heartfelt emotional payoff. The best endorsement for LEGO that the brand could have ever hoped for. The LEGO Movie will have your inner 10 year old jumping for joy.
9. Anchorman: The Legend of Ron Burgundy (2004)
Probably the movie I've seen more times than another. Everybody has those comedies that are integral in crafting a person's sense of humour, and in my case Ron Burgundy is the moustached linchpin of what I understand to be comedy. The humour is somehow both crass yet tasteful at the same time, and there are so many jokes throughout that you could watch Anchorman 100 times and still find something new to laugh at. Arguably Will Ferrel's best work and his chemistry with Carell, Rudd and Koechner is incredible. Up there with the most quotable movies ever made. 60% of the time, you'll love it every time.
8. Eternal Sunshine of the Spotless Mind (2004)
I don't love Jim Carrey, but his performance in Eternal Sunshine of the Spotless Mind is essential to the immense impact of the narrative. Taking the universal experience of going through a traumatic breakup and presenting it in a way that feels both authentic and totally unexpected hits the emotional sweet spot expertly. Some of the scenes crafted are genuinely breathtaking - Joel's sprint through his childhood is dizzying to watch. A movie that opened my eyes to exactly what film as an art form is capable of. If you haven't seen it, you must.
7. Whiplash (2014)
As Charlie Parker once said, "They teach you there's a boundary line to music. But, man, there's no boundary line to art". The umbrella theme may be drumming, but in reality Whiplash is about sacrifice, revenge and how the line between dedication and obsession can easily be blurred. There is literally nothing wrong with it. Not a frame is wasted in a rather lean 107 minute runtime - every single scene offers something significant. The music throughout is incredible, much of which is played by Miles Teller himself, who is fantastic. The crowning jewel is J.K. Simmons. I'd equate his character to Dr Cox from Scrubs on steroids. Emotionally and physically abusive at almost every chance he gets, he is almost otherworldly in his villainy. Yet, at the time, his character's relationship with Teller is so brutally relatable. His Oscar winning performance is to me one of the greatest supporting turns in the history of cinema.
6. The Dark Knight (2008)
I love Christopher Nolan. I also love Batman. It was inevitable that I was going to love Nolan's gritty superhero trilogy. The Dark Knight, however completely transcends the genre of a superhero movie. It's outstanding in every aspect. Incredible action set pieces that are a perfect blend of practical and digital effects. Gripping and gritty throughout with no dull moments in between. Amazing performances from the entire cast. In my mind, Heath Ledger's Joker is the best cinematic villain of all time, and one of the greatest performances ever given. His posthumously awarded Oscar is one of the most deserved in the Academy Awards history.
5. Hunt for the Wilderpeople (2016)
Taika Watiti is quickly becoming one of my favourite directors and Hunt for the Wilderpeople is the film that introduced me to his immense talent. The balance of cheeky and dark humour is spot on, as you'd expect from Watiti, but it's intertwined with a narrative filled with genuine heart. Julian Dennison's breakout performance is hilarious and his presence on screen even rivals that of veteran Sam Neil, who of course smashes this role. Seeing their relationship flourish over the course of the film is hugely satisfying and leads to a tear-jerking conclusion. It's heart warming, tragic and like all great comedies gets funnier every time you watch it.
4. LA LA Land (2016)
As well as reminding the world of how great musicals are, LA LA Land pays fitting homage to the classics whilst offering a fresh and original take on the genre. Every part of the film is gorgeous, especially the bold and inventive uses of colour. Damien Chazelle is a master of framework and this allows for the stunning choreography to be appreciated to the full. Ryan Gosling and Emma Stone both give fantastic performances. The music is impossibly catchy and upbeat. Yet, underneath the feel good tone is a powerful sentiment of choosing what's really important to you and a twist on a typical love story. There's a reason that it nearly won 'Best Picture'.
3. Captain America: Civil War (2016)
As soppy as it may sound, the Marvel Cinematic Universe is one of the main reasons that I love movies. A culmination of everything that has come before it, Civil War serves a wish fulfilment to comic-book and superhero fans everywhere. Almost as entertaining as watching the Avengers Assemble is watching them beat the crap out of each other. Tense and enthralling action set pieces are rife throughout, including not one but two of the best scenes from any comic-book movie. However, whilst the digital effects and action beats are flawless, the conflict is so entertaining is you completely buy the reasoning and motivations behind it. Robert Downey Jr and Chris Evans draw from years of experience as their respective characters and as a result offer two outstanding performances. It might well be eclipsed by Infinity War, but for now it stands the best Marvel movie and one of my all-time favourites.
2. Fantastic Mr Fox (2009)
I loved Roald Dahl as a child, in particular Fantastic Mr Fox, but Wes Anderson's adaptation somehow manages to improve a near perfect story. It's a very Anderson movie in all the best ways. The stop-motion animation is simply brilliant, with ridiculous amounts of effort going into making the puppets feel alive. The framing and the look of each shot is perfect, with smooth lateral and vertical movements that always keep the frame centred on exactly what you want to be looking at. The pragmatic delivery of the lines from an amazing cast blends some darker subjects with unconventionally hilarious comedy. If you don't like Anderson's movies, then it's definately not for you. If you do, this is one of his best. A truly enjoyable movie.
Before I reveal my number one, here are some honourable mentions (Shut up - it's hard to narrow it down to 10!) The following are all unlucky not to make my list:
Kingsman: The Secret Service
Toy Story
Jurassic Park
Get Out
Baby Driver
1.The Shawshank Redemption (1994)
I redrafted the rankings for this list several times but my number one slot never changed. The Shawshank Redemption is a perfect movie.The score by Thomas Newman is phenomenal. The characters are an eclectic bunch played brilliantly by the cast.The writing and the dialogue is so profound and yet feels completely real. Despite the story continually turning from triumph to tragedy, as a viewer you never give up the unrelenting hope for Andy Dufresne and witnessing his gradual redemption is incredibly moving. It's a beautiful film that is filled to the brim with charm. It is, in my humble opinion, the best movie ever made.
Get Out
Baby Driver
1.The Shawshank Redemption (1994)
I redrafted the rankings for this list several times but my number one slot never changed. The Shawshank Redemption is a perfect movie.The score by Thomas Newman is phenomenal. The characters are an eclectic bunch played brilliantly by the cast.The writing and the dialogue is so profound and yet feels completely real. Despite the story continually turning from triumph to tragedy, as a viewer you never give up the unrelenting hope for Andy Dufresne and witnessing his gradual redemption is incredibly moving. It's a beautiful film that is filled to the brim with charm. It is, in my humble opinion, the best movie ever made.
Friday, 30 March 2018
'Isle of Dogs' Review
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
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, 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
Subscribe to:
Posts (Atom)