nobbytatoes Reviews

There Will Be Blood (2007)

epic masterpiece

[10/10 · 9 February 2008]

If not from his previous works, There Will Be Blood will finally give credit where due, and announce Paul Thomas Anderson as one of the best American story tellers working in film. Magnolia, a cinematic experience like no other, and a bold statement to come from Anderson, Blood is a further honing of his craft, and catapulting him to another level of mastery. Based upon the novel Oil!, Blood has something to say, but this isn’t a very uplifting message. The main foes, Plainview and Sunday, each are not lost souls, they are demonic creatures, crawled out for the black oil that surrounds them. Not so much about the oil boom in the turn of the century California, Capitalism and Religious Zealots are butting heads, each possessing their vessels, yet both are kneeling at the alter of greed. Man’s soul is at risk here, but way of redeeming it is a bigger question.

Standing at the heart of this monster and screaming ‘I’ is Daniel Day-Lewis. A villainous monster, equally repulsive and eerily inspiring, Day-Lewis possesses Daniel Plainview with such demonic fever. Plainview is charming and charismatic, a likable man with his small limp and smile, and family man exterior. Behind the squint of his eye, evil deeds await for all who fall prey to him and his conquest. ‘There are times when I look at people and I see nothing worth liking.’ Plainview is a monster; with such content towards man, people are nothing more than meat to discard once he’s dried the land, yet he also carries that wonder and excitement that comes with discovery in industrialism, and a man that sticks to his ideals and principles, even if they rest in the extreme. You can’t call Day-Lewis’s performance a performance, he is Plainview. Standing beside Plainview with his cherub face and innocent demeanour is Eli Sunday, with Paul Dano leaving an impressive mark. The smoky veil of evangelical religion, the empty rapture and redemption he offers, as Sunday looks to control his minions and his self fulfilment as a prophet and vessel of God.

Conjuring Kubrick through his direction, from the wordless opening and extended scenes, dramatic shifts, it all goes with a purpose. Anderson makes a dramatic and epic statement every scene, as there is always interaction, verbally or non verbal, or through the piercing stares between characters. Jonny Greenwood’s discordant score cuts through the landscape and characters, raising the tension to blood boiling levels, before dropping it in an instant. Robert Elswit’s cinematography captures the Western landscape magnificently.

If the long wordless opening made some viewers wondering where will this all end, the yang to this are the two final gut wrenching conversation, and the bone crushing final moments (diabolical with its odd humour, many will be talking about this than the layers of themes, allegories and mythology to dig through) that will permeate and linger long after leaving the cinema. There Will Be Blood is an epic masterpiece from a master story teller.

Rogue (2007)

solid follow up by Mclean

[7/10 · 8 November 2007]

With his previous film Wolf Creek, Greg Mclean made an impact on the world cinema. Splitting audiences with his visceral and unabashed attack on the horror genre. Sadistic undertones, many labeling it Mysoginistic, Wolf Creek got tongues wagging. Mclean not venturing far from another genre flick, Rogue sees Mclean taking on the creature feature. Written before Wolf Creek, Rogue is a film that knows what it is, 'B' film fodder, masquerading as nothing else.

Simplistic in story, Rogue finds a group of tourists venturing on what they think is a tour through crocodile country, in the Australian Northern Territory. Leading the tour, Kate, has in her group Pete. An American travel writer for a magazine back in his hometown of Chicago. Vocally showing, a crocodile tour is not what Pete had in mind for is latest article. Added to the mix is a family with a dying mother hoping for fulfilling moments with her husband and daughter, a bickering couple and and a few loners. Like everything that's going to well, it never lasts, after a run in with two of the local hooligans, before the real terror starts.

If you go back, more so to the better made creature features, many have at their core a social commentary, a reflection of their time. Rogue so much doesn't have a social commentary, Mclean does however taps into a primal fear. An intellectual conversation isn't what you'll find in Rogue, not when a fun ride is afoot. Rogue is a greatly crafted 'B' film. Playing on all the motifs and clichés of the genre, it's easy to figure where this is heading. Jumbling the formula enough, Rogue still offers surprises and twists to keep proceedings fresh.

Showing his skill in Wolf Creek, Mclean is a master of mood. Dropping the sadistic undertones of Wolf Creek, there is a constant atmosphere of dread and foreboding. Like its predecessor, Rogue takes it times to build, milking the tension before we hit the actual problem. The main character of Rogue is also drawn out, not making a proper debut till the final climax. The giant crocodile is an enigma for the most part, all for a more dangerous adversary; especially if an animal that massive can elude its prey. To when the crocodile is fully shown, its well worth the wait.

While Mclean has a directorial eye, and can create situational problems, there is a lag in his ability of character development. Wolf Creek neither had well fleshed out characters, though mostly on the actors part, a connection was made where you hoped for their survival. The case isn't the same with Rogue. All sit at one dimensional. Radha Mitchell is solid as Kate, along with Michael Vartan as Pete, who may not be the most commanding of leading men. Sam Worthington also makes a notable impression as Neil. Mclean tries to inject some back story, as one tourist grieves his dead wife and unspoken problems between Kate and Neil. Pete doesn't like to get his hands dirty and likes the cushy side of life. In the end, they all become scared victims all screaming for their lives. While you back for Kate and Pete, all other characters you hope would already be croc food. The most interesting character is not an actual human, or creature. The Australian landscape is utilised to great extent again, with Will Gibson's cinematography, like Wolf Creek, show casing the beauty and danger hidden within.

Far from being the sophomore blues, Rogue lacks the initial impact of Wolf Creek. Instead Rogue is a simple but fun genre flick. With a few jumps and surprises along the way.

Eastern Promises (2007)

Cronenberg going further into mainstream, not his best work

[7/10 · 30 October 2007]

Cutting into the mainstream cinema, with his last film A History of Violence, Cronenberg keeps slicing his way further in; with lots of blood too. Always a cult director, Cronenberg seems to be diverting from his core themes; sex and flesh. History of Violence kept his themes in tact, Eastern Promises find Cronenberg on a different agenda. Far from trying to be the new Godfather, Eastern Promises seems prepped for this modern title. Focusing mainly on Nikolai, a driver and bodyguard of Semyon's son Kirill. Nikolai has aspiration to rise from chauffeuring Kirill and move to higher ranks in the Vory V Zakone. Throwing a spanner into the works is Anna, who starts to investigate to the parentage of a baby, after her mother died during birth. Reading the mother's diary, Anna find there is something more sinister to her death, which compromises Semyon.

While seeing Cronenberg in a different light, if anything he hasn't left behind is his brutality of violence. Minimal are scenes of violence, as intense neck slicing and a fight in a bath house, drag up the nasty side of Nikolai's life and the business at hand. A smack of cheek can be felt as Nikolai defrosts a body with a hairdryer and laughs on the dead mans haircut. Eastern Promises constantly boils away with a sinister underbelly, but never completely reaches the surface. Cronenberg gave History of Violence a sharp edge from its pulp roots, Eastern Promises seems to have a pulp exterior to Steven Knight's dark screenplay.

To point out a miscalculation, Knight's problem is Anna. Her character is misjudged and un-necessary. Her means of being here and compulsion to find what happened to the young mother feels contrived. Naomi Watts tries to bring an intrigue to Anna, yet looks rigid most of the time, for a woman possessed to find answers. Swinging the camera to Nikolai and Kirill, all slack is counter acted. Majorly to Viggo Mortensen's and Vincent Cassel's performance, Mortensen especially creates such a powerful and enigmatic character in Nikolai. Hitting another snag, Eastern Promises has to ambiguous of an ending, leaving many story arcs untied. Open for another film?

Eastern Promises falls short of the visceral cinema experience Cronenberg wants, yet with Mortensen in his greatest role to date, Eastern Promises is a film of a director evolving into new territory.

The Brave One (2007)

could have been a lot more..

[6/10 · 16 October 2007]

The Vigilante is a strange and intriguing person. One person’s act of retribution, or act for the greater good can stir so much emotions. Not just in the single man or woman, but the greater community; with polarising effects. The Brave One takes a side step of the vigilante parable. Erica Bain is not out there to clean the streets, The Brave One studies more on the emotional aftermath of a woman’s turmoil, resulting in her beaten close to death and fiancé David murdered. Director Neil Jordan handles proceedings well, while screenwriters Cynthia Mort, Bruce A. Taylor and Roderick Taylor inject intelligence into this story of a woman rebuilding her life. Well not rebuilding, changing into someone she doesn’t recognise; this stranger. For the most part, The Brave One walks a solid line, as Erica grips with her lose and the first few murders, until revenge and the vigilante acts enter the picture. Side stepping into that vigilante territory and the final act of revenge drag everything into a standard form. All the insight and turmoil to Erica is muted when this becomes another vigilante film. When the exploration of society’s reaction to these crimes is about to head into thought provoking areas and the ramifications of these acts, are all dropped for acts of revenge. The final act is what unfolds what was so tightly constructed beforehand. The tuff and hard hitting ending Jordan was heading for never eventuates, for an ending more cheap and selling out the audience. Jodie Foster gives and powerhouse performance, over shadowing the rest of the cast, and is the strongest element of The Brave One. Terrence Howard is solid, without being very memorable. The Brave One has an intriguing premise, true this isn't Deathwish or Taxi Driver again, it’s a disappointment it could have risen above what it actually finished as.

December Boys (2007)

bland drama

[4/10 · 2 October 2007]

The coming of age tale has been tried and test for quite a long time. Learning life's mysteries and hard lessons, learning the end of childhood innocence. When all the ingredients are so blatantly in front of director Rod Hardy, it's sad that December Boys never utilise them to make a point in four boys lives cinematic, or even engaging. December Boys treads all so familiar territory; seen it before, well you'll see it all over again. True to the fact movies can regurgitate the same plot and arc time and time again, it all depends how it's rearranged into something that looks new and exciting. As four orphans, all born in December, are taken on a holiday to a small beach community, all things are possible. Marc Rosenberg's screenplay based upon Michael Noonan's book, wonderment on how this was such an important moment in his life becomes hard to figure out. As time slowly lumbers by, the build to what could have been a beautiful coda, resides on a perfunctory thud. Where was this building to? Nowhere except to some gorgeous scenery. David Connell's cinematography injects some lovely, sweeping landscapes; if only the story swept you away this much. A tiresome story, stiff and rigid acting all round. For Daniel Radcliffe's first major role out of Harry Potter, better stick to what he knows. December Boys is a broken record of a tired theme.

Surf's Up (2007)

enjoyable, light-hearted flick

[7/10 · 18 September 2007]

It's becoming a train of thought currently with penguins. "If I see one more penguin, I think I'm going to...". They seem to be everywhere, with movies; March of the Penguins, Happy Feet, Farce of the Penguins. Penguin overload, critical mass reached, looking to explode with Surf's Up jumping into the feathery black and white pile. While wondering what will be the next new animal to grace the screen, it's a hard blow for Surf's Up, coming so late in the penguin parade, and will easily be overlooked as low-grade family fodder. Simple fact is that Surf's Up is a beautiful family affair, with lots of heart, and gives Pixar a reminder they aren't the only ones in the game.

While a simple tale of facing life's challenges, and taking them on with a smile, and a good old laugh for measure, the lack of sap and sickly sweet gooey moments, make Surf's Up such and light an easily digested treat. Surf's Up grabs your attention more due to its venture in the Mockumentary scene; an unconventional twist for the simple kids flick. Screenwriters Lisa Addario and Christian Darren grasp this concept fully, even tackling the genre better than it's original father Christopher Guest. (Well better than his last few features). Interactions between characters and the unseen documentary crew adds an interactiveness, it feels they are talking with the audience. Shots from surf boards and inside the tubes add an actual documentary dimension. A flaw Surf's Up hits is a real punch with many of the jokes and gags. While not reaching the hysterical heights of comedy, the "smaller" laughs keep coming one after the other.

Showing why he's becoming one of the biggest star right now, Shia LaBeouf has a natural charisma and wit to engage you and keep you engaged for the films entirety. Jeff Bridges seems to tap into a more cleaned up, still stoned Lebowski. The rest of the cast never really raise to much. Jon Heder doing what he does best and James Woods becomes bit too caricature as Reggie Belafonte. Yet look for appearances by Kelly Slater and Rob Machado.

While looking like just another computer animated, family film, Surf's Up has so much more going for it. The animation is stunning, scenes inside the wave tubes are beautifully created. This is a film that will be easily forgotten, but for all the wrong reasons.

Hairspray (2007)

a revision, not a remake

[8/10 · 13 September 2007]

John Waters's film Hairspray is such a cult classic, and one of his most mainstream films, especially after his run of shock comedies; ala Pink Flamingos. Behind all the satire and Baltimore bashing in Waters's original, there resided a commentary on racism, set behind the battle of integration and segregation. Director Adam Shankman and Co. brings the Broadway production, based upon Waters's version, with all the glitz, glamour and sparkling shimmer. Hairspray though doesn't stray into rehash territory, unlike many other remakes. While based more on the Broadway production, Hairspray is a re-envision on it's original counterpart; an element many remakes miss. Shankman's update may be Hollywoodnised, and glazed covered candy with an extra serving of sweetness, Waters's satire nowhere to be seen, yet a remainder of tongue firmly in cheek in his brief cameo. Screenwriter Leslie Dixon, while dropping all satire, has no problem sinking the teeth in with hard biting, forked tongued humour, making Hairspray a delightful treat. Along with cameos from Ricki Lake and Jerry Stiller, and homage in Tracy's final dress.

As with any musical, the defining factor is the music and dance numbers. Choreographed by director Shankman; who pulls off two major feats, after a run of very ill decided, and plain awful films, constructs the most energetic and exuberant atmosphere. On Shankman's part, this is a real surprise, and a welcomed one at that. All songs hook and reel you in, right from the opening number "Good Morning Baltimore", Hairspray grabs you. All the dances are constructed and executed with such mirth and spirit, embodying the era of the early sixties, along with costumes and reconstruction of sixties Baltimore.

Pelting out every tune, Hairspray has an exceptional cast. In her debut role, Nikki Blonsky shines and sits as the sweet core of this film as Tracy Turnblad. Zac Efron has charm and grace as Link. Yet this is an all round affair. Even this late in his career, John Travolta marks a career defining role as Edna. Never sending up Devine, who played Edna in the original, Travolta embodies this woman and weight, stealing every single scene he's in. And he can still sing and dance. Michelle Pfeiffer is magnificently bitchy as Velma Von Tussle and a surprise singer. Even with minimal screen time, both Christopher Walken and James Marsden mark their presence strongly. Queen Latifah hasn't been this wonderful since Chicago. Even with her few scenes, Allison Janney is a small treat.

While Waters's Hairspray is endearing and the penultimate version, Shankman's new Hairspray stands solely by its self, and another fine example that the musical will always live on.

I Now Pronounce You Chuck & Larry (2007)

stereotype hell

[3/10 · 16 August 2007]

For this writer, the attraction of each Adam Sandler film becomes lower and lower. I Now Pronounce You Chuck and Larry finally takes the cake, or breaks the tolerance; ironically when this films preaches about tolerance, to how lazy each film is and how far this film verges on insulting. In hind sight after viewing Chuck and Larry, there is an episode of South Park, which looked at gay marriages, also another episode on tolerance. As far yielding South Park has with its PC levels, the outcome is satire and social commentary gold. Screenwriters Alexander Payne, Barry Fanaro and Jim Taylor; looking at Payne and Taylor's previous films Sideways and About Schidt, something isn't right here. All three scrape the bottom of the barrel, digging up every cliché and stereotype to whip up a film more insulting than actually bringing awareness.

All Characters are flat and one-dimensional. Larry the sensitive father looking out for his kids, while Chuck the womanising ladies man, who is far from the Playboy Man he thinks. Every element of Chuck and Larry is basic 101 film making. Chuck is so ugly at the start, but only to make his transformation more impacting, but is deft of any impact. Dennis Dugan has become the main director for any of these Sandler comedies, with uninspiring and flat directing; whenever a good moment arises to adds strength, Dugan take all the easy steps. His paint by colours in hand. Gay stereotypes come flying left and right, all presented as the weak wristed men, who need the strong heterosexual to shown them how to be a man. Squirm as Cindy Lauper's 'Girls just wanna have fun', on a "girl" shopping spree, or the oldest joke of dropping the soap. That joke ought to stay in the Naked Gun.

Chuck and Larry, while presenting tolerance for the homosexual community, also brackets to simple respect for all people. Yet no tolerance is left for any audience member, or the groups and minorities they leave little for. Regression and backward steps are taken, instead of strengthening the rights for any group attacked by Conservatives. A staple of the Sandler's company Happy Madison is schmaltz life lessons that churn the stomach than warm the heart. Remember Click? Actually lets not remember. The final note that everything will work out hinges on some un-noted preconception. No burning effigies, but crowned heroes.

The real surprise here is Jessica Biel, who manged to rise above the rest, even when she's hardly trying. Along with Nick Swardson, who manages to hit the 'mock' button, these two were the only highlights in a horrible movie. Honestly, there were three chuckles released, and that's a poor show indeed when this abomination stretches for close to two hours.

Sicko (2007)

intriguing documentary

[8/10 · 12 August 2007]

Flicking through Michael Moore's previous films, if you were caught in his cross hairs, you automatically needed your "Foot-in-the-door O Matic", to sever his leg if he came knocking at your door; as shown in once part of Sicko, the Big Cheeses' don't like being in the next Michael Moore film. Moore is an angry man, and he wants his results when he is asking why something isn't right. Sicko yet is Moore's less intrusive film to date, being he is not the main flag waver here. Unlike previous film Fahrenheit 9/11, Moore pushes himself to the background, and lets the people's voice through, and their horror stories with battling the American Healthcare System.

As Moore simply states at the beginning of Sicko, this is not a film about all the millions of American's who have no health insurance what so ever, this is about all the people how are actually covered by the HMO, or so they think. Sicko is one film that really makes your stomach churn in revolt, and the ending result of feeling just plain sick. The stories told by those covered who felt so secure by their HMO, are truly horrific. Just when they think all is well and be covered for the hospital bill, they better think again. Excluding care for the most trivial problems, or if nothing is wrong, the Health Insurance will find a way to deny you. The private health system, big money with little to none care given. The Ultimate Money Game should be the actual name of the American Healthcare System, to no wonder why they are so low on the world standard for Healthcare.

Moore presents something truly horrific in Sicko, that does speak to everyone. We all have people we love, and it's a terrifying that so many people in the American Healthcare System worry more about the bill or being thrown out to the gutter, then receiving the care they ask for. Sicko is one film also being an Australian, they should all see, as when the Australian Healthcare is slowly being privatised and morphing into one resembling that of America, it's enough to take a lesson from the French and fill those streets.

Live Free or Die Hard (2007)

popcorn film at its best

[7/10 · 9 August 2007]

You know the type of people, who are so interactive with a action flick, that they mimic all the guns and explosions. Well if you did that with this installment of the resurrected Die Hard franchise, you would be hoarse by the end of the two hours. By no means the first film ever to have constant and relentless action thrown at the audience, but like most that do, proceedings turn boring and repetitive by the end. It's a glimmering light shown from Len Wiseman, that Die Hard 4.0 is an exemption and one of the most entertaining popcorn films in quiet sometime.

Twelve years since we have since John McClane, Die Hard 4.0 doesn't play around with the formula, that has become a blue print for so many films from the invent of Die Hard. McClane once again is entangled in the plans of a well-groomed villain, where digital terrorism is our other foe. Based upon an article by John Carlin, the premise see's what happens when an entire country is hit with digital mayhem, and ultimately when that control over the digital world is ripped from its hands. The short answer here, Armageddon. The concepts and ideas presented by Carlin does the ultimate mind boggle on this "What if" situation, as humanities dependency is so reliant on this digital age. Sreenplay by Mark Bomback, beefs up the action side and injects the Die Hard formula, along with McClanes wise-cracks and invisible subtitle "They hurt my family, nows it's personal" eighties homage, resulting in our John McClane adventure.

Again McClane is the one man army, winding up in the wrong place at the wrong time again on a routine suspect pick up. Willis shows he is McClane, while able to show up all those young action stars he still has the goods, even if he doesn't have the ripped body of yesterdays. Very self aware of itself, instead of an intriguing thriller with dark undertones, director Len Wiseman, of both Underworld films, takes Die Hard 4.0 to bombastic levels of constant action set pieces, but all in the good name of great entertainment. With each set piece nearly an allusive boxing match; John McClane verses a band of armed hit men, John McClane verses a Helicopter, John McClane verses Kung-Fu Chick, John McClane verses a Jet Fighter. Each one raises the bar of ill-credibility so high, on paper its insanity of the highest order. Wiseman likes his films sleek and slick, and to his credit executes each scene with such precision, edited perfectly, to draw out that "Whoa" with such easement. Your eyes will binge on so much eye candy, as this defines destruction with nothing left unblown or shot out to the hilt. Rubble should have had a credit, with more screen time than most of the actors.

Relentless in pace and ACTION, ACTION, ACTION to please action flick junkies, Die Hard 4.0 like the predecessors are guilty pleasures. If you were able to take one part from this film, if needed to place a bet on the victor between McClane verses a Jet Fighter, you know where to place your money.

The Simpsons Movie (2007)

just off the golden years of the series

[8/10 · 27 July 2007]

If there was every more of a parent and teacher of a generation, it would have to be The Simpsons. The zeitgeist of topical and social commentary, The Simpsons were more than just the average run of the mill cartoon show. Though like all great things, they all must come to an end, maybe not the end of the show, but the time of their grasp upon that zeitgeist has been severed, and losing that sharp edge which made The Simpsons so special; slap stick, Homer antics now the norm. With writers from the golden years of the show on board for the belated release of The Simpsons Movie, redemption seems promising, striking back into that zeitgeist. Yet a more pressing question is what can the movie tackle, as just through every day living, it’s hard not to say, “Remember when {insert Simpson character} did {insert act}”. Over 400 episodes, everything has been said and done, as South Park pointed out, “Simpsons did it”. So it’s not surprising that environmental themes are the main point of focus, with global warming such a hot topic. Luckily, this environmental theme isn’t jammed down your throat, and good old shenanigans are back. The first half runs with rapid fire jokes and satire, it’s hard not to think, this is what The Simpsons were all about, with pure gold coming out of every scene with Homer and his adopted pig. Once Springfield is encased within the Dome, due to Homer dropping pig excrement in Springfield Lake and is labelled a biohazard by the Environmental Protection Authority, the pacing slightly drops, as some jokes miss than hit, yet the humour still sits on a level to call this the funniest film of the year. Maybe a draw back to the humour is the broad range the writers have aimed for, incorporating the maximum audience. Fans will still be appeased, as in jokes are placed throughout, the ambulance at Springfield Gorge a prime example, and genuine emotional drama and even pathos in Homer’s redemption. In an attempt to bring a big Simpsons adventure to the big screen, there is a lack of surprise, as times arise of haven’t we seen this in another episode, and this really is just a super extended episode, but it’s one of the best to come out of the Simpsons in a very long time.

The Lives of Others (2006)

has its flaws, still an important film to see

[7/10 · 9 July 2007]

The real surprise on the 2007 Oscar’s had to go to, The Lives of Others, winning over the crowd favourite, Pan’s Labyrinth in the foreign language category. Maybe seeing The Lives of Others after this surprise win, when having back the crowd favourite, makes viewing hard, but all Oscar tid bits aside, The Lives of Others is a competent debut from writer/director Florian Henckel von Donnersmarck. In 1984, when Germany is split into the East and West, member of The Stasi; government secret police, Hauptmann Gerd Wiesler is their top interrogator, and is compelled to surveillance play writer Georg Dreyman and his wife/actress, Christa-Maria Sieland, who seem to fit all the markings of a loyalist, but Wiesler and friend Anton Grubitz suspect a liar and a traitor. Wiesler heads the surveillance on Dreyman, though as Wiesler become more a voyeur of this couple, and Dreyman’s workings with the West, Wiesler is entranced by them, turning a traitor himself to save these two from Grubitz and the government. The Lives of Others is a grim reminder of life in a Totalitarian regime, nods to Big Brother and Orwell’s 1984. Donnersmarck writes with competence, utilising some provocative subject matter and some thrilling moments. The draw back is he doesn’t keep this at an even pace, dragging at times, though enough tightly executed scenes rise above this. There is a quite interesting scene with Wiesler and a child inside an elevator, and though Donnersmarck takes his time getting there, the coda and final moment is so poignant and heart felt. Performances all round are top notch, most notable are from Ulrich Mühe, saying so much with his expressionless demeanour as Wiesler, and Sebastian Koch as Georg Dreyman. Hagen Bogdanski’s cinematography and Donnersmarck’s direction are impressive, with their still and restrained shots, penetrating scenes with a tight atmosphere. The Lives of Others, is an impressive debut from Donnersmarck, and though it’s major flaw is it’s length and loses it’s grip occasionally, The Lives of Others is still an important film to see, and should be seen.

Fantastic Four: Rise of the Silver Surfer (2007)

still struck by its limitations

[5/10 · 24 June 2007]

The Fantastic Four comics were the crown jewel in the Marvel comic book cannon, being the most popular with fans. So it's disappointing (or poetic depending on your stance), that the film adaptations sit on a mediocre level. The first installment weighed heavy with flaws, a thin screenplay, uninspired acting and bland directing. Fantastic Four: Rise of the Silver Surfers, pulls out the trump cards to pull this franchise from the murk, yet ends in a case of flashing their cards to early. All the usual tricks of a sequel are here; bigger action set pieces, more enemies with more layers reveled in the protagonists. Script writers Don Payne and Mark Frost attempt to rise above the flaws from the first installment, with inner turmoils of the four leads, while fighting their new foe, but this never amounts to anything captivating. Being stuck in the media light, Johnny's power crisis, Sue and Reed's relationship problems and constant wedding postponements, great material to mine for character development, but Payne and Frost only scratch the surface, while still writing some cringe worthy and emaciated dialog. Director Tim Story's pacing faults proceedings, jumping from problem to action scene to problem to action scene. There seems to be notes taken from X-Men 2, yet Singer took time and found even ground for character development and big action pieces. Story seems to have too much on his plate, implementing too many elements in a short time frame. The set pieces, while imaginative and fast paced, are short and end just when they are about to lift off into eye candy spectacle. The confrontation with Dr. Doom is impressive, while the real enemy Galactus is gone as fast as it arrives. Ioan Gruffudd, Jessica Alba, and Michael Chiklis reach for their best, but have forgettable performances. Chris Evans, while down playing Johnny's cocky side, seems far from his talents, after pulling one mesmerising performance in Sunshine. Julian McMahon seems to be having fun as Dr. Doom, while being under used. Doug Jones displays the best performance as the nearly expressionless Silver Surfer. Fantastic Four: Rise of the Silver Surfer has tripped on its way to sit beside its comic book peers. For many this will be a popcorn affair, but it's very flavourless popcorn.

Shrek the Third (2007)

no longer a fairytale

[5/10 · 12 June 2007]

By now it has become apparent that animation has mutated to a state, that with each new computer animated film, the quality will constantly increase, where time will arrive we will not realise we are looking at something computer generated. It's awe gasping to marvel at what is achievable. But a very beautiful picture is all Shrek the Third will ever be. No longer a parody/satire of fairytale stories of old, of childhood memories, it's terrible to see when all things pop culture and easy jokes become the norm. Shrek 2 started this norm, though rising above this limitation, kept proceedings fresh and interesting; with new characters added to the mix and keeping its fairytale roots close to heart. A big heart still resides in Shrek the Third, the main driving force of the whole film, but those fairytale roots have been crushed, replaced with schmaltzy, over sweet life lessons to drag it down. All of the Shreks have held those 'life lessons', but only as after notes, to think on the way out. Shrek the Third is a constant lesson class; never judging yourself by others opinions, family and responsibility. The little ones will soak it up with glee, starring upon their cinematic heroes, yet the older generation will feel tiresome by halfway, wondering where that adult humour went from the last two films. Maybe if the laughs were up to snuff, Shrek the Third could reside with its predecessors, the jokes have run dry and bland. The whole reliance of pop culture and in-jokes; not helped with Justin Timberlake added to the bill - he ain't bringing no sexy back to help boost this, but bitching beauties with Snow White, Sleeping Beauty Rapunzel and Cinderella, acting from some forth rate soap opera; maybe some classy Dynasty cat fighting would have helped, is tiresome from the go, and clichéd high school kids; girls talking like drones of Little Brittian Vicky Pollard and Mean Girls, spewing 'whatever' and 'ew-eth' at nauseating rate, Bill and Ted stoners, cocky jocks, and the braced up nerds. Enough material keeps proceedings above the water, yet not far from drowning. Charming's plays at the start and end are highlights, and the few out of the blue jokes. It's sad when events like a crazy aged Merlin, Puss and Donkey's body swap, are real missed opportunities and never really russel up the punch they require. All stars returning to their roles, own them easily like a second skin, many of the new actors bring nothing special; which is hard as they have no good material to work off. Shrek the Third runs far off course from it's predecessors, sitting now squarely in the kids section. Shrek the Third - you said it honey, ew-eth.

Zodiac (2007)

Fincher's craft maturing

[8/10 · 17 May 2007]

The release of a David Fincher film is a time to celebrate. Fincher has staked out an impressive claim as a director, with only a handful of films in his cannon, a few already cemented in cult and contemporary classic status. Zodiac feels a long time coming, five years between Zodiac and Panic Room; his longest gap, yet a gap that shows Fincher has grown as a film maker. Returning to the detective/crime genre, a genre Fincher redefined with Seven over a decade ago, Zodiac is by no means another Seven, stripping off controversial, heavy subject matter or Seven or Fight Club, or the free roaming camera work of Panic Room, for Zodiac see's Fincher with his most restrained and mature piece of work.

The Zodiac killings in San Fransico' is one of great unsolved cases, numerous suspects; namely Arthur Leigh Allen, with no conviction ever place upon anyone. Zodiac based upon Robert Graysmith's novel, follows Graysmith, a cartoonist for the San Fransico Chronicle newspaper, Inspector David Toschi and Paul Avery, a crime journalist for the Chronicle, three men who were the most affected by the Zodiac investigation. For an un-shut case, Fincher with James Vanderbilt's screenplay, wring every note of tension, with bated breathlessness, from the eerie opening scenes, to an ending that dwindles into thrilling nothingness. The dramatic exhale Fincher builds to never arrives, for credit to his craft as a film maker, makes Zodiac compelling viewing for a film that reaches no real conclusion. Set around the case and the investigation, Zodiac explores the obsession, turmoil and sheer pain caused from the investigation spanning decades. Harris Savides's cinematography is classically captured with still H-D cameras, bronzed out nights, information lined everywhere, capturing the time period with precession.

The actual killer of the piece, is actually not the main story arc. After witnessing the murder of a young couple, with a few more to witness soon after, Zodiac focuses more on Graysmith, Toschi and Avery, who become entangled with this investigation; unwillingly or compelled to uncover the murderer. The most affected is Graysmith, his obsessive urge to solve the investigation, at times when no one else will. Constantly hitting dead ends, the audience along with Graysmith, sift the never ending clues and leads, heading to nowhere. To Zodiac's conclusion, you can feel Fincher is smiling over the fact that nothing is resolved in the end.

Pushing nothing but perfection out of the cast, all actors deliver performances at the top of their game. Jake Gyllenhaal as Robert Graysmith, Robert Downey Jr. as Paul Avery and Mark Ruffalo as Inspector David Toschi are nothing short of brilliant. Surroundded by an impressive supporting cast, all give amazing performances; most notedly by Anthony Edwards as Inspector William Armstrong, Brian Cox cameo as Melvin Belli and John Carroll Lynch as suspect Arthur Leigh Allen.

Zodiac is David Fincher's most muted and mature film, evolving in his craft. It may not be the controversial slice of cinema many might be expecting, though like Fincher's previous films, Zodiac is compulsory viewing.

Sunshine (2007)

sci-fi brilliance

[10/10 · 12 April 2007]

The crisis of humanity and it's time on earth is hotly debated of the fallibility of our existence. It's this immediacy, that screen writer Alex Garland has grasped tightly, that Sunshine relishes in. In the briefest of set ups, ship Icarus II, with eight astronauts in specialist fields, carries a bomb the size of Manhattan to re-ignite the dying sun. An after thought to Sunshine, science fiction has probably reached its creative limit. The closer Icarus II flies towards its destination, Icarus I is found as a silent satellite around the sun, and the urge to uncover the failings of the first mission, becomes all to great to ignore. Without any oracle foresight, everything goes horribly wrong, as machine and human are pushed past their limits. Only as an after thought too this creative limit, with pin point accuracy to execution, Sunshine rises to the most exhilarating experiences in the science fiction genre for many a year.

Director Danny Boyle has knowingly alluded towards his mentor Ridley Scott and his masterpiece sci-fi, horror film Alien. Yet no monster is hiding in the shadows terrorising the crew, but a constant unknown presence and the god like icon of the sun, constantly reminding the crew of their task to succeed. Sunshine molds influences of many sci-fi films, Alien the fore most, with the operatic levels of Kubricks 2001: A Space Odeyses, while blending actual science and theoretical science to create a reality in a believable realm.

Sunshine poses many questions; the future of man kind, stability of the human mind, the fragility of machine, religion and faith, are some Sunshine tackle, yet don't think for one second there'll be time to mull these over, as from the opening moment, Boyle never lets you breath, jumping from crisis to crisis, as machine breaks down, people losing their minds and their lives. Fist clenching from the start, Sunshine only tightens it's grip, ever morphing from action to horror, at gut wrenching intensity. Visually, Sunshine is a buffet to feast upon. Stunning special effects for the ship Icarus II, and engulfing effects for the sun. Auditorily, Sunshine is ground shaking, with spine chilling sound effects and music score.

Certainly not an A list cast, performances from all actors are top of their game. Rose Byrne, Michelle Yeoh, Benedict Wong, Hiroyuki Sanada, Troy Garity and Cliff Curtis are all splendid in their roles, even when character development is minimal they all deliver a complete character. Cillian Murphy brings an urgency to Capa's quite and passive persona. Surprisingly, cutting to the front of the entire cast is Chris Evans, in his most mature role of his career, showing he can draw out a dramatic role and not the constant over grown child he usually acts.

Nail biting and haunting from start to finish, Sunshine is an experience of sci-fi brilliance, burning into your memory, on one of the most breath-taking and heart stopping finales.

300 (2006)

amazing action, lousy drama

[6/10 · 5 April 2007]

The Battle of Thermopylae, might be one of the greatest battles in history. Three-hundred Spartans defending against the quarter million strong Persion army under the command of Xerxes. Frank Miller's graphic novel 300, fictionalises this point of history into a surrealistic manner, while increasing the Persion army stronghold to one million. Making a mark with the Dawn of the Dead remake, Zack Snyder adapts 300 in a Gladiator meets Sin City.

Snyder is loyal to Miller's novel, staying true to the bronze soaked visuals and going as far as lining up blood splatters from the novel. Visually 300 triumphs effortlessly, with lush computer generated backdrops and an odd beauty within all the blood shedding. Visually engulfing 300 may be, a deep lack of drama and substance hinder 300 from Synder's aspirations. Men of the most extreme, the Spartans are the baddest of the bad, with 300 constantly wearing this badge of manhood on its sleeve, but makes the error of mistaking this badge as a shield. Grand standing and posturing with each man pelting out the loudest voice is all emotional deft when these are men of action, not ones to emote. Strangely scenes turn awkward the moment any one shows any emotional side. David Wenham's narration of Dilios recount, falters on every aspect, mainly on Wenham's lack of commanding voice and over emphasis to dramatise every moment; along with Synder trying to jam Epic! down your throat from point dot.

For the lack of substance 300 holds, the battles sequences are among the greatest place on celluloid. Firing on all pistons, fueled by extreme levels of testosterone, adrenaline and fierce intensity, Synder's directional skills excel with awe inspiring onslaughts and choreography among the blood thirst, which in effect glosses over any short coming the drama creates. Characterisations are kept minimal, there's no time to flesh anyone out (there's enough flesh on display anyway), when there's people to kill, though with this lack of dimension to play on, Gerard Butler cuts to the forefront. Showing Leonidas as a man with ideals and convictions, ripping out the odd quip, while slaying man after man on the field. Butler makes the most of broadly drawn Leonidas, the rest of the cast falls short. David Wenham's shortness of presence and story telling escape him. Dominic West's Theron, playing behind the scenes with his own schemes overly exaggerates. Rodrigo Santoro's Xerxes is all glam. As the only touch of femininity, Lena Headey rises above most as Queen Gorgo.

Visually stunning and battle sequences of the highest caliber, 300 on the surface is capturing and belligerent, the drama is too shallow in the depth department.

The Hitcher (2007)

the remake argument again

[5/10 · 20 March 2007]

The whole argument of the remake will never end. Constantly splitting people, sticking to their guns on which one rises above the other. The remake has always troubled ground to cross. Reshoot the original frame by frame ala Gus Van Sant's Psycho, and labelled uncreative. Film maker plays around to much and ruin what made the original so special to its devotees. The remake does have its place, a film maker re-envisioning/ modernising to a contemporary time; Jonathan Demme's The Manchurian Candidate, Invasion of the Body Snatchers, or to less extent, the at odds with itself The Stepford Wivies. The remake may even successfully bridge the cultural gap; The Departed. The 1986 version of The Hitcher, has risen as a go-to film for psychological highway miss-adventure; not the greatest film on celluloid but holds a certain panache with a memorable performance by Rutger Hauer.

The Hitcher doesn't stray far from the original source, creative licence kept minimal, as Jim Halsey and his girlfriend Grace Andrews are terrorised but miscreant hitcher John Ryder and his disturbing vices. Point by point analysis of whats changed, what remained is best left muted to take this on its own merits. Yet remake or not, The Hitcher aims for a suspenseful time, though the cross-hairs are not on the bulls eye. The opening scene easily wraps the entire film in a nut shell. A psychological edge resides in The Hitcher, an over leaning towards shock tactics and unabashed violence, stop what could have reached psychological terror rests more on highway shenanigans. Times arise when suspenseful moments are about to grab for the jugular, yet an over reliance on loud sound effects dip the intensity.

Sophia Bush and Zachary Knighton aren't the most commanding leads; more of two damsels in distress than a terrorised couple, though give it their all, more so on the big center piece. Sean Bean as the crazed Ryder holds a commanding presence, relying just to much on his gruffing voice for chills. An ill picked soundtrack works against the mood; Nine Inch Nails would seem like an appropriate pick but sounds misplaced, and the ending note on a Gomez song wraps things up wrong; director Dave Meyers work in music videos seeping through.

There are elements to admire in The Hitcher, and it's made with gusto, the level of terror The Hitcher is aiming for is just out of its reach.

Solaris (2002)

hush, introspective film

[7/10 · 18 March 2007]

Solaris is a film that will either enrapture or level you behind. Psychologist Chris Kelvin is pleaded by old friend Gibarian, to fly from earth to space station Prometheus, where something terrible has happened. Prometheus orbits around the beautifully enigmatic planet Solaris. On arrival, Kelvin discovers scattered blood and two bodies, along with the only two survivors; Gordon and Snow. Solaris is a hushed, introspective film on the boundaries of human mental stability, isolation, loss, existence, the power of a high being, and emotional withdraws of letting go. Images and silence speak louder than words; echoing 2001: A Space Oddessy, where piercing stares tell all that is needed.

The mystery of Solaris lies upon the enigmatic planet, Soderbergh only supplying little hints and clues leading to what is behind this majestic planet; strengthening the fact this demands repeat views and open thinking. The emotional drama is gripping, as Kelvin is haunted on the apparition of his deceased wife, flashes of Kelvin's memories during his time with Rheya, and the unseen visitors of Gordon and Snow. Much to the vast cold of space, Solaris seeps a coldness from its core, that bars an emotional detachment. A haunting ambiance lacking in spine chilling. Not completing the emotional bridge, a central presence of George Clooney, holds a gravitas to the proceedings. Natascha McElhone doesn't reach Clooney's presence yet haunting as Rheya. Viola Davis and Jeremy Davies as the remaining survivors are great in their supporting roles. Solaris may not be everyones brand of Scince Fiction, on its conclusion, your need to talk about it is quite strong, which is the films overall point.

Hot Fuzz (2007)

hot stuff

[9/10 · 15 March 2007]

Edgar Wright and Simon Pegg, director/writers/actor respectively, struck gold with their previous film Shaun of the Dead, for what is a cult hit. Wright and Pegg, tapping the same source of Shaun, are far from bleeding their well dry. Spinning conventions of the zombie genre around with the rom-com, Wright and Pegg give action it's due in the small village of Sandford, where death is more prone from an over indulgence of tea and cake at the local NWA.

Sandford starts to become lively on the arrival of hot shot and all round saint of the law, Officer Nicholas Angel, transfered from London after being extremely to good at the job and making everyone pathetic in the shadows of his commendations. Teamed with lout Danny Butterman, Angel unable to shed his rock solid adherence to the law, loses mental stability in the sleepy village where the law is transparent. After a series of seemingly unfortunate accidents, Angel smells foul play, though convincing the locals their village has a murderer is harder than apprehending the killer.

The chemistry of Hot Fuzz lies upon Pegg and Frost. Perfectly complimenting each other, whether Pegg is stiff and robotic and Frost runs with the shenanigans, or both in action mode, there is a natural play off one another, never fighting for the punchline or spotlight. Writers Wright and Pegg, don't really reach the creative level of Shaun of the Dead, in retrospect the revelation of who's behind it all is rather esoteric, but that and plot holes are quickly filled with a 'who cares' mentality. The comedy is non stop, along with a constantly spiked energy level, with Wright showing of his flare as a talented director in one bombastic yet creative shoot out. Pegg and Wright have laced moments, heavily on Point Break and Bad Boys 2, with myriad of references to virtually every buddy cop film, cop show and other films and shows to spark the childhood memories.

Together Pegg and Frost make strong leading actors, though they are surrounded by countless solid supporting actors and cameos. Bill Nighy, Martin Freeman and Steve Coogan as the London officers is Angels transfer. Bill Bailey, Olivia Colman, Kevin Eldon, Karl Johnson as the woeful Sandford officers, a solid performance from Jim Broadbent as Inspector Frank Butterman. Paddy Considine and Rafe Spall as ignorant detectives Wainwright and Cartwright. Stand out performance by Timothy Dalton, as the sly greasy shop owner Simon Skinner, and all the members of the NWA.

Whether a Shaun of the Dead fan or not, Hot Fuzz has all the goods for anyone wanting an intelligent comedy/action film.

The Illusionist (2006)

no spark of magic

[4/10 · 3 March 2007]

Magic has always been captivating. The impossible made real, yet with the ever lingering knowledge that it's all a trick. As the old saying, 'nothing is what it seems', something grand only occurred through the simplest effect. Nothing is what it seems is director Neil Burger's aim for The Illusionist, for magic is his smoke and mirrors surrounding what is simply a love story. Situated around Vienna towards the turn of the twentieth century, illusionist Eisenheim has propelled himself as a famous magician, with many claiming he holds supernatural powers. During one of his shows, Eisenheim discovers his childhood love Sophie is betrothed to Prince Leopold. Both wanting to rekindle their love, Eisenheim becomes investigated by Inspector Uhl, by Leopold.

The Illusionist walks a line of reality and fantasy, where the magic of the impossible enters reality. The illusions presented while gasping one second lose credibility. The Illusionist grounds itself in reality, though it's illusions run in a realm of fantasy. Suspension of disbelief may be the ultimate trick for this film, but lack of revelations stunt this from happening, for the illusions are deemed impossible for this point in history. It's a brave move on Burger's part, keeping answers locked away on the workings of Eisenheim's tricks, his exercise in the slow burn pace to find your own answers in the surrounding details, which will enthrall or irritate, lead to a conclusion with missing pieces. Burger's main concern is the love story.

While it's at the heart of The Illusionist, the romantic arc between Eisenheim and Sophie works best as a soap opera. Dull and no spark of romance, with a lack of chemistry between Norton and Biel. Norton walks around so wooden and stiff, Biel maybe in her best performance, lacks depth. Giamatti is flat as Inspector Uhl and Sewell is overly pompous and one dimensional as Leopold; his tyrant prince and wife hitter miss much subtlety. The all round flat performance are not helped either by Philip Glass's score, which constantly rubs against the grain, failing to inject any dramatic tension. Burger's directing rather heavy handedly, increases may of the awkward moments, though cinematography by Dick Pope makes for some visual intrigue, while the amber seeped into the visual mix tries to pound the note of a period theme to hard.

The Illusionist will captivate many, with too many lose ends floating around and flat performances, the magic surrounding The Illusionist is rather empty and non-captivating. Inspector Uhl sums The Illusionist up best, "You Look Ordinary". This is an ordinary affair.

Marie Antoinette (2006)

Sofia likes her cake

[8/10 · 15 February 2007]

Let them eat cake. Maybe a cake that the masses will not enjoy, but Sofia Coppola likes to have her cake and eat it also. Marie Antoinette strictly not a film that falls back on historical facts to drive its narrative, Coppola focuses on the woman Antoinette and the illustrious aristocracy of 18th century Versailles, a place of set behavior and formality of crass and asinine levels to Antoinette.

Marie Antoinette, of Austrian descent is betrothed to French dauphin Louis XVI, to create ties between the two countries. Marie is naive and embodies and eagerness frowned upon. Her cheer doesn't run with the occupants of Versailles, who's currency is scandal and gossip; which Marie finds herself in the center of, when her and Louis fail to consummate their marriage for some time and unfulfilling the wishes to produce an heir. Marie though is a lady of leisure, filling the void made from her unromantic marriage and isolation being an outsider.

Marie Antoinette is a change for Coppola. Not a drastic one, her deep exploration of loneliness and isolation which has been the main point of focus her last two films; Lost in Translation and The Virgin Suicides, leans off the heavy emotions for Marie Antoinette, while still incorporating her slow burn, gentle exhale, visual eye and simplistic approach are all in tact. Simplistic may not have been in the vocabulary on costumes, production design and mountains of sweets and cakes. Eye candy galore, with lush and rich design; costumes designed beautifully by Milena Canonero and production design by K.K. Barrett is exquisite. Coppola still explores personal isolation, conveying this and so much with little verbal interaction. The quietness speaks so loudly, with Coppola adding wry humour of the whispered gossip and simplistic moments. More conceptual than historical accurate, Coppola mixes in a contemporary soundtrack to pin point procession; Gang of Four's Natural's Not in It encapsulates the entire film during the opening credits.

Teaming up again, Kirsten Dunst is perfect as Antoinette. Portraying Marie's exterior naivety, hidden strengths and strong loneliness, being an outsider in a foreign country. Dead pan not Jason Schwartzman strongest strength, though still manages an awkward Louis XVI. Steve Coogan and Judy Davis are wonderful in the supporting roles as Ambassador Mercy and Comtesse de Noailles. Molly Shannon and Shirley Henderson grasp the wry humour perfectly as the gossiping Aunt Victoire and Aunt Sophie.

Marie Antoinette may come off as a vanity project, and lack a resonance and poignancy as the softly spoken Lost in Translation or the emotionally haunting The Virgin Suicides, though to all the cakes, Sofia Coppola has made a sweet little treat in Marie Antoinette.

Smokin' Aces (2006)

the bullet jammed here

[6/10 · 8 February 2007]

"Make it make sense!" On one simple line of dialog, Smokin' Aces rests on such a critical breaking point. The brains behind this action film of operatic proportions, Joe Carnahan, ditch to tie everything together and reveal relevance to everything that was previously beheld, explodes in his face, killing what was a highly indulgent romp. Before this moment to show the slightest of moral, a romp is all Smokin' Aces is.

It's hard not to see an influence of Tony Scott (with a touch of Guy Ritche Snatch era). A man who seems to be leading the trend of hyperactive directing, over editing, bleached out and over saturated visuals. But an influence is all it is. Not reaching the epileptic levels of Scott, Carnahan controls the hyper activity, though still finishes with an end product that resembles something hap-hazardously mashed together; Carnahan's work on The Hire series a glimpse of what was to come. He tries to juggle to many characters on a pretty thin plot line. The plot in question, Vegas performer Buddy 'Aces' Israel wants out of the mob, turning snitch for the government to whip the mob out. Aces goes under protection, yet the mob want him eliminated, placing a one million dollar bounty upon Aces head, unleashing multiple assassins trying to reach that bounty first.

Smokin' Aces is mind boggling in the opening scenes. Character upon character are introduced without much coherence, trying to set up the premise as quickly as possible. After time when who's who and what's what settles, it all becomes a straight ahead affair. Smokin' Aces runs at a hyperactive pace, yet the adrenaline doesn't kick in for quite some time. Not until the showdown starts, bullets flying, bodies dropping, blood gushing everywhere with the walls splattered red, does this gets some guts. Carnaham though isn't really trying to re-invent anything, just to deliver popcorn entertainment, which he delivers the goods.

Boasting an impressive cast, too many cooks aren't spoiling the broth, disappointingly too many lye under par; most notably Andy Garcia and Joel Edgerton's Russian accent. Ryan Reynolds doesn't match to a tuff cop role, while Jeremy Piven is nicely over the top as Aces. Ben Affleck and Martin Henderson walk through without much energy. Ray Liotta rises to the top as Carruthers, along with Alicia Keys as Georgia Sykes. Matthew Fox and Jason Bateman are worth their measure in their cameo spots.

Smokin' Aces may miss fire at times, and an ending that was better left unsaid, Carnaham executes this with exuberant energy that rivals a child in the world's largest candy store, his eyes were just to big for his stomach.

The Last King of Scotland (2006)

strong film, out shined by Whitaker

[7/10 · 30 January 2007]

Kevin McDonald has been walking through documentaries for some time now. Historically significant events of One Day in September, biographies and the spellbinding re-enactment of mountain-climbing tragedy of Joe Simpson and Simon Yates in Touching the Void. The Last King of Scotland sees McDonald moving out of the documentary field, yet not stepping away from portraying a historical point of time. The Last King of Scotland, blending fact and fiction, circles around the appointment of Idi Amin as President of Uganda, and the beginning of his dictatorship.

After finishing his medical degree, Nicholas Garrigan wants a change of life, and escape from his father. Taking his new degree, Nicholas travels to Uganda, to help the sick while searching for adventure. Being taken to a car accident involving newly appointed leader Amin, Garrigan impresses Amin with his confidence, but mostly on his Scottish heritage. Taking a liking towards Garrigan, Amin appoints him as his personal physician. Garrigan is easily charmed by Amin, going up the ranks to Amin's consultant to right hand man, though Garrigan starts to question Amin's leadership when his real personality crawls out and becomes witness to many unsettling events.

The Last King of Scotland catches you off guard. Told throw Garrigan's eyes, our initial scenes take us through his travels, his work with the villages doctors, and the beginning of his friendship with Amin. Used as an easement of what's to come, all the civil unrest and killings under Amin's rule are all unseen, as Garrigan isn't witness to them; yet. The closer he get's to Amin and what was unseen now faced on, the darker Garrigan's journey becomes. His ideas of coming to Uganda to save the dying and look the savior shatter on his realisation of that simplicity, when clasped so tight to Amin, a man who almost has that sparkle in his eye, switches instantly to cold blooded murderer.

Kevin Macdonald shows his competence jumping from the documentary to feature film. Those initial scenes he takes you by the hand, as we start to spiral into this hellish world he taking us too. Trying to show us his craft as a film maker, he does push too hard than needed. Macdonald's directing is competent, but reaches didactic and awkward at times. This hits a point during Amin watching the film Deep Throat, trying to encapsulate his world of sleaze, along with his pool party where Garrigan makes his ultimate mistake. As the political side is only subtle laid in the background during the start, when Macdonald begins to play upon it, the darker themes move to the foreground, but fight with the paranoia edge of Garrigan's fight for survival and Amin's megalomania. Macdonald pushes one then the other, instead of wielding them in a double edged blade. While Macdonald's directing dips occasionally, there is outstanding cinematography from Anthony Dod Mantle, and viscerally executed violence, with a gut wrenching climax between Amin and Garrigan.

While The Last King of Scotland isn't told through Amin, Forest Whitaker is a commanding force to behold. Like Amin he charms you and draws you in to his world. As the charm fades, the vulgarity and sheer distaste to him build to one powerhouse performance from Whitaker. James McAvoy exudes Garrigan's cockiness and naivety, to a man simply saving his life. Gillian Anderson seems sorely underused as Sarah Merrit, with a character that isn't completely fleshed out.

A few awkward moments here and there weigh The Last King of Scotland down, but when this gets going, there is no stopping it.

Apocalypto (2006)

an action film lies at its heart

[6/10 · 19 January 2007]

When holding Apocalypto, The Passion of the Christ and Braveheart side by side, a question comes to mind; Is Mel Gibson a vampire? He likes blood, Passion has it free flowing, but beside his pasty complexion on his mug shots, maybe he isn't one. But Gibson could be called an emotional vampire, with these three films sucking every emotion out till there's nothing but depressing emotions to go with the depressing state of affairs found in his films.

Apocalypto starts at the decline of the Mayan civilisation. Disease and famine are hitting hard, with the rulers demanding more human sacrifices to appease their Gods. Their hunters pillage surrounding villages to capture the inhabitants to be use for the sacrifice; their heart ripped from the body and head decapitated. From one of the villages, Jaguar Paw is captured along with his friends and family. To escape from being sacrificed, Jaguar Paw flees, though in hot pursuit.

Apocalypto can easily be split into two sections. To start off, opening part runs as a some what comedy. The village Mayan's play practical jokes on each other and shows Juguar Paw as the family man with expecting wife and young son. Used as an easement to the second part, this start is off and doesn't click. Sexual jokes and the mother badgering her son in law to produce a grand child miss their marks, adding to the facade of what Apocalypto really is. Even during the pillage of the village the action doesn't hold the emotional detrimental effects wanted. On the arrival at the stone temple city Mayan's, we hit the bridge to the second part, the mood changes to a deeply ethereal atmosphere. Dread fills the captives, as their fate is shown off in the distance as heads roll down from the temples. The mood is suffocating and taunt and quite a visceral moment.

Hitting the second part, this is when all the gears synchronize and reveal what this film really is, an action film. On Juguar Paw's escape and pursuit of his captors, Apocalypto becomes a chase film, and this is what it's most effective as. The drama missing a lot of resonance, besides the time of the sacrifices, and the wonderful cinematography taking over from the story at times, the second part works so well due to the exceptionally stage set pieces. A draw back is that the chase suffers from predictability, as people are picked off one by one and a race against time for Juguar Paw to save his wife, but is easily forgone due to Gibson's craft as a film maker and the fast pace and unrelenting pursuit Juguar Paw suffers. The violence is also used to a visceral extent. The gore and blood isn't as high as people hyped too. Yes blood is splattered freely and Gibson doesn't turn from the gore, but there's restraint, from the all out gore fest of Passion.

The drama aspect of Apocalypto lacks the emotional impact and the comparison between the decline of the Mayan civilisation and modern day society may not make a mark on many; it's there to dig out, but behind everything, lies the heart of a well staged action film.