I've seen a bunch of films in the last couple of months that have gone un-reviewed thanks to moving house. Here for you now a quick catch up.
SCOTT PILGRIM VS THE WORLD
An excellent adaptation of a mediocre comic, taking the highlights and eschewing swathes of rubbish like a certain wizard adaptation should have. The pop art of cinema I greatly enjoyed this.
TAMARRA DREWE
I laughed from beginning to end at this tale of a newly gorgeous Tamarra returning to her home village and wreaking havoc amongst the quiet country dwelling folk. Expect characters rather than plot and you should be entertained.
THE SOCIAL NETWORK
A film about quatelling over privileged friends, intellectual property law and litigation sounds dull. A film which is "The Facebook Movie" sounds dull. But Aaron Sorkin's writing, as with the West Wing is compelling and Fincher's direction make for a surprisingly absorbing and engaging film. You don't have to use Facebook to enjoy this. I don't.
THE OTHER GUYS
The first part of a police double bill is no comedy classic but there's enough here to keep you chuckling on a wet Sunday afternoon. Surprisingly found Mark Wahlberg's straight man funnier than Will Ferrell's goofball.
THE TOWN
A distinctly average heist movie with some better than average highlights. Sort of a cross between Heat and Dawson's Creek. The film tries to cover about 5 genres and loses it's way doing so. At it's best when dealing with heists, at it's worst when dealing with the girlfriend who should add tension having been victim of the heist but doesn't.
DESPICABLE ME
Or Predictable Me as I would call it. Insufficient despicability and too much sentimentality rob this film of it's potential leaving it an often entertaining but ultimately disappointing diversion.
THE GIRL WHO PLAYED WITH FIRE
The same level of acting and cinematography as the first mean this is let down only by a slightly lazy plot from the book and the fact it was edited down from a longer TV version. Feels very much like the setup for the final part and almost certainly needs to be seen beforehand. Very much enjoyed.
LET ME IN
The American remake of Let The Right One In hits all the right beats and is an excellent first film from recently revived Hammer Studios. It's difficult to pick the two apart in fact but something about the atmosphere of the Swedish version just puts it ahead for me. Either is worth watching but you may not want to bother with both.
Thursday 11 November 2010
Monday 6 September 2010
L'Illusionist
A French animation following a magician from Paris to Edinburgh trying to make a living in the dying days of music hall.
Based on a script of Jaques Tatti, French master of slapstick, there's surprisingly little of the comedy that made his films so popular.
What there is is the most stunningly realised landscapes of Edinburgh and the highlands of Scotland. The artistry on display is intoxicating and that beauty is perfect to carry you through the slow sections of this melancholic tale. As with Belkeville Rendezvous there is almost no dialogue.
French, silent, animated. Enough to put off many of my friends but it really is worth the effort.
Based on a script of Jaques Tatti, French master of slapstick, there's surprisingly little of the comedy that made his films so popular.
What there is is the most stunningly realised landscapes of Edinburgh and the highlands of Scotland. The artistry on display is intoxicating and that beauty is perfect to carry you through the slow sections of this melancholic tale. As with Belkeville Rendezvous there is almost no dialogue.
French, silent, animated. Enough to put off many of my friends but it really is worth the effort.
Sunday 15 August 2010
Toy Story 3
When announced I questioned whether we needed a third instalment or whether this would finally be the big mis-step of Pixar. Amazingly, yet again they have found a good story with a solid emotional core which further develops the few remaining cast of toys (Andy has grown up and many are already gone) that are so loved.
The visual flair, inventiveness, wit and charm with which this is done continually impresses but even with all this, even Pixar haven't convinced me 3D is anything other than gimmick.
Not liking cartoons is not a good enough reason to avoid this. Go see it. It is one of the best films of the year.
The visual flair, inventiveness, wit and charm with which this is done continually impresses but even with all this, even Pixar haven't convinced me 3D is anything other than gimmick.
Not liking cartoons is not a good enough reason to avoid this. Go see it. It is one of the best films of the year.
The A-Team
I love it when a plan comes together. Always have done, always will. The original TV show was Saturday staple for me, often followed by a session in the garage trying to turn my bike into a tank.
With that sort of heritage, there is much to go wrong. But for me this film hits all the right notes. Primarily, BA, Hannibal, Face and Murdoch. The balance of the group is just as I remeber and what made the original so enduring.
Certainly the stunts are rediculous. Certainly the plot, misguided good guys chase escaped good good guys and are conned into catching patently bad good guys, is ropey. You can't always hear what's being said. But if you want a rediculous action spectacle starring a bunch of loonies all of that is missing the point.
It isn't classic but it is fun.
With that sort of heritage, there is much to go wrong. But for me this film hits all the right notes. Primarily, BA, Hannibal, Face and Murdoch. The balance of the group is just as I remeber and what made the original so enduring.
Certainly the stunts are rediculous. Certainly the plot, misguided good guys chase escaped good good guys and are conned into catching patently bad good guys, is ropey. You can't always hear what's being said. But if you want a rediculous action spectacle starring a bunch of loonies all of that is missing the point.
It isn't classic but it is fun.
Monday 2 August 2010
Inception
Chris Nolan, director of the new Batman franchise and Memento brings us a big budget action blockbuster with a plot. Leonardo Di Caprio is Cobb, an expert in entering people's dreams to steal secrets. Employed to instead insert an idea (Inception) by Saito (Ken Watanabe) he assembles a team that can help him do this. The result is something like a cross of James Bond and Blade Runner.
As layers of subconscious are traversed in the dreamworld, the dream worlds become more expansive but the subconscious more aggressive in it's self defense. The vision is cinematic, the action compelling and crucially purposeful, an integral part of the plotting, while the plot pulls you along, keeping you guessing right to the end where you're headed.
I'd have much less reason to complain about Hollywood if they made films like this more often.
As layers of subconscious are traversed in the dreamworld, the dream worlds become more expansive but the subconscious more aggressive in it's self defense. The vision is cinematic, the action compelling and crucially purposeful, an integral part of the plotting, while the plot pulls you along, keeping you guessing right to the end where you're headed.
I'd have much less reason to complain about Hollywood if they made films like this more often.
Tuesday 27 July 2010
Splice
A reworking of the Frankenstein story with Dr Frankenstein now a pair of research scientists, the old castle a high tech lab and the multiple body part monster now a mixed gene mutating creation.
The monster, Dren, is a superbly realised creature, morphing over the course of the film from little more than a bare chicken monster, through young child to all too adult woman with tail and wings. Yet while the film invites sympathy for this self aware lab-experiment she never loses the menace that leaves you wondering whether she or the doctors are the bigger threat.
There are some good moments of drama, a smattering of laughs (not always intended) and the odd horrifying moment. I was entertained but in spite of some nice ideas it felt derivative while trying not to be. I love good B-movies that embrace being derivative. Slither a few years ago a good example. Splice seemed to be a bit stuck between playing it straight and mixing in a bit of willful sillyness.
The monster, Dren, is a superbly realised creature, morphing over the course of the film from little more than a bare chicken monster, through young child to all too adult woman with tail and wings. Yet while the film invites sympathy for this self aware lab-experiment she never loses the menace that leaves you wondering whether she or the doctors are the bigger threat.
There are some good moments of drama, a smattering of laughs (not always intended) and the odd horrifying moment. I was entertained but in spite of some nice ideas it felt derivative while trying not to be. I love good B-movies that embrace being derivative. Slither a few years ago a good example. Splice seemed to be a bit stuck between playing it straight and mixing in a bit of willful sillyness.
Tuesday 29 June 2010
4 Lions
Chris Morris, writer for The Day Today and Brass Eye turns his attention to suicide bombing in his feature film debut. A move which has courted the controversy often associated with his output.
Typically, the film questions our views and assumptions about suicide bombers. The prejudices and injustice within society that might anger those more likely to be persuaded by jihad. What security is offered by our security forces and what is the cost? These questions and many more are raised in an engaging and sometimes emotional film.
It is also very funny. All but one of the terrorist cell are buffoons. They lark and pratfall about, constantly bickering with no real understanding of the faith they profess to follow. Many have failed to see the humour or contend that to laugh you must wilfully find it funny at the expense of the underlying messages. I would say it is perfectly possible to be moved while laughing and to laugh at the rediculous is not to miss the serious point being raised.
If you didn't like Brass Eye or The Day Today this won't be for you but this is right up in my favourite films of the year and I expect it will stay there. Funny, moving, engaging. I should have written the review before it left cinemas.
Typically, the film questions our views and assumptions about suicide bombers. The prejudices and injustice within society that might anger those more likely to be persuaded by jihad. What security is offered by our security forces and what is the cost? These questions and many more are raised in an engaging and sometimes emotional film.
It is also very funny. All but one of the terrorist cell are buffoons. They lark and pratfall about, constantly bickering with no real understanding of the faith they profess to follow. Many have failed to see the humour or contend that to laugh you must wilfully find it funny at the expense of the underlying messages. I would say it is perfectly possible to be moved while laughing and to laugh at the rediculous is not to miss the serious point being raised.
If you didn't like Brass Eye or The Day Today this won't be for you but this is right up in my favourite films of the year and I expect it will stay there. Funny, moving, engaging. I should have written the review before it left cinemas.
Tuesday 15 June 2010
The Losers
A bunch of special ops soldiers working for the CIA are framed during an operation. Stranded in South America they are offered assistance in reclaming their lives by a sultry femme fatale.
If this sounds like the opening spiel for the A-team you pretty much know what's going on here. This tries to update the much loved 80s show by adding some grit and modern sleekness but it falls short.
There's just enough witty repartee to entertain but not enough to make me care about the characters. They only shoot bad guys. Innocent parties in the way get tranquliser darts which seems cliched. The action is fun but mostly unspectacular.
The Losers are diverting, not dreadful but they could have been better than that. Guess I'll just have to wait for the real A-Team.
If this sounds like the opening spiel for the A-team you pretty much know what's going on here. This tries to update the much loved 80s show by adding some grit and modern sleekness but it falls short.
There's just enough witty repartee to entertain but not enough to make me care about the characters. They only shoot bad guys. Innocent parties in the way get tranquliser darts which seems cliched. The action is fun but mostly unspectacular.
The Losers are diverting, not dreadful but they could have been better than that. Guess I'll just have to wait for the real A-Team.
Friday 28 May 2010
Iron Man 2
There isn't really any need for a plot summary of a comic book sequel. New, stronger, more able opponent causes mayhem. Hero takes journey of self discovery. Bigger stuff explodes/implodes more often than before. People cheer. End credits roll.
Importantly, director John Favreau hasn't messed with the formula of the first installment which so entertained. Keeping a lighter tone and allowing the excellent Downey Jr plenty of banter the focus is on entertaining.
Where I worried that a much larger cast would lead to too many story lines, many of them are kept to supporting roles to keep the admittedly baggy plot muddling along. Alongside Downey Jr and Paltrow are now Scarlett Johanssen, Sam Rockwell, Samuel L Jackson, Don Cheadle and Mickey Rourke.
If you didn't like the first one this will be a waste of time. If you did, this will be a welcome return to a comicbookland where there doesn't need to be a lot of Emo angst to justify the hero's journey.
Importantly, director John Favreau hasn't messed with the formula of the first installment which so entertained. Keeping a lighter tone and allowing the excellent Downey Jr plenty of banter the focus is on entertaining.
Where I worried that a much larger cast would lead to too many story lines, many of them are kept to supporting roles to keep the admittedly baggy plot muddling along. Alongside Downey Jr and Paltrow are now Scarlett Johanssen, Sam Rockwell, Samuel L Jackson, Don Cheadle and Mickey Rourke.
If you didn't like the first one this will be a waste of time. If you did, this will be a welcome return to a comicbookland where there doesn't need to be a lot of Emo angst to justify the hero's journey.
The Ghost
Not in fact a spooky horror film but instead a slow burning thriller with Ewan McGreggor taking up the ghost writing duties of Pierce Brosnan's former prime minister Adam Lang after the previous incumbent mysteriously falls off a boat.
The script is tight, wasting few words. Almost everything said seems to carry relevance. When combined with the slow pace of events unfolding largely in a single isolated house this gives the film a sense of foreboding that should keep the heart if not racing, then at least trotting while the mind is occupied second guessing the outcome.
Brosnan's imbued his PM with just the right blend of charm, smarm and hubris, convincing as a thinly veiled copy of Blair. McGregor plays his part well once you get around his strange accent and they ably supported by the excellent Olivia Williams as an undrappreciated wife.
With little by way of actual action, this won't be to everyone's taste but those who enjoy a more Hitchcockian yarn should be engaged.
The script is tight, wasting few words. Almost everything said seems to carry relevance. When combined with the slow pace of events unfolding largely in a single isolated house this gives the film a sense of foreboding that should keep the heart if not racing, then at least trotting while the mind is occupied second guessing the outcome.
Brosnan's imbued his PM with just the right blend of charm, smarm and hubris, convincing as a thinly veiled copy of Blair. McGregor plays his part well once you get around his strange accent and they ably supported by the excellent Olivia Williams as an undrappreciated wife.
With little by way of actual action, this won't be to everyone's taste but those who enjoy a more Hitchcockian yarn should be engaged.
Thursday 15 April 2010
Kick Ass
Regular school kid Dave determines he should change the world for the better by mimicking the superheroes from his comic books. A gangster decides he is responsible for the actions carried out by Big Daddy, a real but secret superhero.
This is a parody of superhero films in the same vein as Shaun of the Dead and Hot Fuzz. It has affection for the material, some riveting fight scenes better than a lot of big budget affairs but has a good laugh poking fun at how patently ridiculous it all is.
It also has controversy in the form of an 11 year old girl who uses the C word which has scandalised the Daily Mail. The context of her character is a girl, older than her years, brought up by an angry nutter of a dad. It is clear at all times that it is fantasy. The juxtaposition of a "defenceless" young girl and the gangsters she fights lends a humour always found when little meets large. In this context, a single use of the c word is really not as shocking as it might sound.
Neither Hit Girl, nor the violence is sexualised as the Mail claims. And while the violence is glorified in balletic fight scenes, the real consequnces of it are also clearly demonstrated in others, something few action films bother with making this film considerably more balanced than other less controversial but more violent films.
But while there is much to debate about violence in cinema and role models for young people that isn't the point of this film. It's an inventive action film shot through with humour for people who want a bit of entertainment. In other words it's kick ass.
This is a parody of superhero films in the same vein as Shaun of the Dead and Hot Fuzz. It has affection for the material, some riveting fight scenes better than a lot of big budget affairs but has a good laugh poking fun at how patently ridiculous it all is.
It also has controversy in the form of an 11 year old girl who uses the C word which has scandalised the Daily Mail. The context of her character is a girl, older than her years, brought up by an angry nutter of a dad. It is clear at all times that it is fantasy. The juxtaposition of a "defenceless" young girl and the gangsters she fights lends a humour always found when little meets large. In this context, a single use of the c word is really not as shocking as it might sound.
Neither Hit Girl, nor the violence is sexualised as the Mail claims. And while the violence is glorified in balletic fight scenes, the real consequnces of it are also clearly demonstrated in others, something few action films bother with making this film considerably more balanced than other less controversial but more violent films.
But while there is much to debate about violence in cinema and role models for young people that isn't the point of this film. It's an inventive action film shot through with humour for people who want a bit of entertainment. In other words it's kick ass.
Wednesday 14 April 2010
The Girl With Dragon Tattoo
Convicted and soon to be jailed journalist Mikael is commisioned by an old man to dig around an old murder case and see what he can find. Joined by abused parolee and hacker Lisbeth they uncover a much wider more brutal series of murders.
The strength of the film is it's characters and the time given for them to develop. With the notable exception of a sadist who you wouldn't want to see more of, time is allowed between plot points to draw them out. Seemingly irrelevant events lend undestanding of motivations at key points in the finale.
The pacing is unusual for a film, more closely resembling a feature length Wallander than a thriller. Over half the film has passed before Lisbeth and Mikael actually meet It is long and there's little particularly cinematic about it but it's engrossing if you're willing to give it the time.
A final warning is that the content is tough going at times. There are 2 very graphic sexual assaults depicted in particular that may be mire than you can stomach. The translation of the original Swedish title The Men Who Hate Women is an accurate summary.
The strength of the film is it's characters and the time given for them to develop. With the notable exception of a sadist who you wouldn't want to see more of, time is allowed between plot points to draw them out. Seemingly irrelevant events lend undestanding of motivations at key points in the finale.
The pacing is unusual for a film, more closely resembling a feature length Wallander than a thriller. Over half the film has passed before Lisbeth and Mikael actually meet It is long and there's little particularly cinematic about it but it's engrossing if you're willing to give it the time.
A final warning is that the content is tough going at times. There are 2 very graphic sexual assaults depicted in particular that may be mire than you can stomach. The translation of the original Swedish title The Men Who Hate Women is an accurate summary.
Friday 12 March 2010
Micmacs
This latest piece of Whimsy from Jean-Pierre Jeunet sees a young man who loses everything thanks to the products of arms dealers set about bringing retribution to them with the aid of a troupe of scavenging scrapyard misfits he falls in with.
This an oddity of a film. The serious nature of the corrupt arms trade is in stark contrast to the flight of fancy that it follows.
The scavengers live in a scapyard in a home constructed of scrap. Each has their own idiosyncrasy to bring to events, essentially becoming a circus band.
The arguments of the arms trade are shown to be rediculous by ridicule. The heads of the companies self absorbed childish brats with dangerous toys.
Thus ensues a farce where the arms dealers are brought to loggerheads by the many-talented scrap merchants in a series of light hearted stunts.
The group have something of Gilliam's time bandits about them, as does their scrap home. The tone is distinctly Jeunet, in concentrated form. Where Amelie took a largely real world with some light hearted observations gently twisted with whimsy, here is a fantastic world with an occasional twist of reality. You don't so much suspend your disbelief for the train of fantastic events as occasionally engage belief for the films heart to develop.
Stylised, funny and largely nonsensical, lovers of silliness will enjoy it where others will hate it. I for one, was very amused.
This an oddity of a film. The serious nature of the corrupt arms trade is in stark contrast to the flight of fancy that it follows.
The scavengers live in a scapyard in a home constructed of scrap. Each has their own idiosyncrasy to bring to events, essentially becoming a circus band.
The arguments of the arms trade are shown to be rediculous by ridicule. The heads of the companies self absorbed childish brats with dangerous toys.
Thus ensues a farce where the arms dealers are brought to loggerheads by the many-talented scrap merchants in a series of light hearted stunts.
The group have something of Gilliam's time bandits about them, as does their scrap home. The tone is distinctly Jeunet, in concentrated form. Where Amelie took a largely real world with some light hearted observations gently twisted with whimsy, here is a fantastic world with an occasional twist of reality. You don't so much suspend your disbelief for the train of fantastic events as occasionally engage belief for the films heart to develop.
Stylised, funny and largely nonsensical, lovers of silliness will enjoy it where others will hate it. I for one, was very amused.
A Single Man
George (Colin Firth) mourning the loss of his lover of 16 years, determines to make it through one last day, putting his affairs in order before committing suicide.
Colin Firth has been well nominated in the awards season for this role and rightly so. Holding more than a passing resemblance to his most famous role, Mr Darcy in the BBCs Pride and Prejudice, George is a well presented controlled character of repressed emotion with subtle gestures rather than showboating gurning exposing his underlying emotions. His receiving the news that Jim has been killed in an accident and that he isn't welcome at the funeral is masterful, convincing and beautifully understated.
As George moves through the day in his heightened state, he notices things he might not have before, lifting him momentarily. These moments are indicated by raising the colour palette from a very washed gray to vibrant colour. This is undoubtedly heavily stylised, and in places a touch heavy handed, but it is infinitely more subtle than a narration would be. It also brilliantly captures how fleeting these moments are when you are low, the colour draining away almost as soon as the moment passes.
There is also a lovelly extended cameo from Julianne Moore as Charley, a long standing friend who still wishes their young lovemaking had become love.
A touching portrait of a man crushed by bereavement and repressed by society for his lifestyle, this is engrossing, engaging and well worth a look.
Colin Firth has been well nominated in the awards season for this role and rightly so. Holding more than a passing resemblance to his most famous role, Mr Darcy in the BBCs Pride and Prejudice, George is a well presented controlled character of repressed emotion with subtle gestures rather than showboating gurning exposing his underlying emotions. His receiving the news that Jim has been killed in an accident and that he isn't welcome at the funeral is masterful, convincing and beautifully understated.
As George moves through the day in his heightened state, he notices things he might not have before, lifting him momentarily. These moments are indicated by raising the colour palette from a very washed gray to vibrant colour. This is undoubtedly heavily stylised, and in places a touch heavy handed, but it is infinitely more subtle than a narration would be. It also brilliantly captures how fleeting these moments are when you are low, the colour draining away almost as soon as the moment passes.
There is also a lovelly extended cameo from Julianne Moore as Charley, a long standing friend who still wishes their young lovemaking had become love.
A touching portrait of a man crushed by bereavement and repressed by society for his lifestyle, this is engrossing, engaging and well worth a look.
Monday 15 February 2010
The Wolfman
Laurence (Benucio Del Torro) is called home from exile by a letter from his brothers fiancée Gwen(Emily Blunt) to investigate the disappearance of said brother and reunite with his overbearing father(Sir Anthony Hopkins).
With that casting I had wondered if a more cerbeal investigation of the monster lurking inside us all might be on the cards. Have no fear, the film cares not a bit for such fripperies when it can busy itself throwing limbs and guts across the countryside. It does so with a liberal abandon that will keep you entertained if you enjoy a good lynch mob being torn apart. I do.
This is very much monster film by numbers though. Woods, Check; Crumbling Mansion, check; Lynch mob, check; Gypsy Caravan, Check; Maiden in distress, Check. Tension? Well they forgot that bit and it undermines the effectiveness of the film. There's no real sense of the hunt before limbs start to fly nor any sense that the Wolfman can be stopped. Not even by Hugo Weavings Inspector Aberline whose main role is to raise a credulous eyebrow at the villager until witnessing the transformation for himself.
If you like monster films it's diverting enough though not scary. Enjoyable but not essential.
With that casting I had wondered if a more cerbeal investigation of the monster lurking inside us all might be on the cards. Have no fear, the film cares not a bit for such fripperies when it can busy itself throwing limbs and guts across the countryside. It does so with a liberal abandon that will keep you entertained if you enjoy a good lynch mob being torn apart. I do.
This is very much monster film by numbers though. Woods, Check; Crumbling Mansion, check; Lynch mob, check; Gypsy Caravan, Check; Maiden in distress, Check. Tension? Well they forgot that bit and it undermines the effectiveness of the film. There's no real sense of the hunt before limbs start to fly nor any sense that the Wolfman can be stopped. Not even by Hugo Weavings Inspector Aberline whose main role is to raise a credulous eyebrow at the villager until witnessing the transformation for himself.
If you like monster films it's diverting enough though not scary. Enjoyable but not essential.
Tuesday 9 February 2010
An Educucation
Jenny, a school girl starts to question all her aspirations and the point of her education after the arrival of an older man in her life.
Carey Mulligan has rightly received many plaudits for her extremely convincing portrayal of a 16 year old growing up. I would have believed her 16 if I hadn't known otherwise. The performance brings to mind the breakout performance of Abbie Cornish in Somersault.
In the fasion of all the best British films though, the cast is largely the mainstay of British acting and each performance is excellent allowing the tone to shift seamlessly as Jenny flits from school to home to her new found social life.
Also notable is the script by Nick Hornby which tells more story in a brief 1h45 than many films achieve with much longer running times. He also has a great talent for giving stories a moral core with weight without being preachy or seeming worthy and critically, while continuing to be entertaining.
Unmistakably British in the best way, this is excellent drama worth a viewing.
Carey Mulligan has rightly received many plaudits for her extremely convincing portrayal of a 16 year old growing up. I would have believed her 16 if I hadn't known otherwise. The performance brings to mind the breakout performance of Abbie Cornish in Somersault.
In the fasion of all the best British films though, the cast is largely the mainstay of British acting and each performance is excellent allowing the tone to shift seamlessly as Jenny flits from school to home to her new found social life.
Also notable is the script by Nick Hornby which tells more story in a brief 1h45 than many films achieve with much longer running times. He also has a great talent for giving stories a moral core with weight without being preachy or seeming worthy and critically, while continuing to be entertaining.
Unmistakably British in the best way, this is excellent drama worth a viewing.
Tuesday 2 February 2010
Che Parts 1 & 2
Benicio Del Toro plays the titular revolutionary Che Guevara made popular by t-shirts the world over. Part 1 covers his part in the Cuban revolution, part 2 his revolution in Bolivia.
With the Bolivian campaign being markedly less successful than the Cuban, part 2 makes an interesting counterpoint to part 1, pointing at conditions that allowed the Cuban revolution to succeed where so many others fail.
What the films don't really do is cast much light on Che himself. His motivations are barely hinted at, his politics rarely shown. The result is a film that seems more "Guerilla warfare 101" than real biopic. What there is is interesting and well put together but lacked the substance that would really have engaged me.
With the Bolivian campaign being markedly less successful than the Cuban, part 2 makes an interesting counterpoint to part 1, pointing at conditions that allowed the Cuban revolution to succeed where so many others fail.
What the films don't really do is cast much light on Che himself. His motivations are barely hinted at, his politics rarely shown. The result is a film that seems more "Guerilla warfare 101" than real biopic. What there is is interesting and well put together but lacked the substance that would really have engaged me.
Tuesday 19 January 2010
Sherlock Holmes
Although keeping the two main characters, Holmes (Robert Downey Jr) and Watson (Jude Law), and a detective style where Holmes knows more than is ever revealed until solving time, the adventures of these two are visualised rather more frenetically by Guy Ritchie than the classic source material suggests. The result is a buddy movie somewhere between Shanghai Knights and Lethal Weapon and the straight man/funny man pairing is perfect to keep the film ticking over through its investigative phases.
Downey Jr continues his run of top form and Law is an excellent sidekick and comedy foil without bringing the self satisfied smugness I associate with a number of his other performances.
Another delight is the sets. 19th century London is visualised with some panache and achieves a marvellous gothic feeling without resort to the exaggeration of a Tim Burton set.
A highly entertaining, if un-taxing introduction to a new franchise.
Downey Jr continues his run of top form and Law is an excellent sidekick and comedy foil without bringing the self satisfied smugness I associate with a number of his other performances.
Another delight is the sets. 19th century London is visualised with some panache and achieves a marvellous gothic feeling without resort to the exaggeration of a Tim Burton set.
A highly entertaining, if un-taxing introduction to a new franchise.
Monday 11 January 2010
The Road
In a post-apocalyptic world a father tries to protect and feed his son while travelling to the sea.
The apocalyptic event precipitating the film is only hinted at but it's effects are brilliantly realised on screen. No animals survived. All plant life has died and everywhere is ash. A lack of colour that isn't quite black and white gives the landscape a haunted, lifeless quality far beyond the hopeless feeling evoked in the not dissimilar Children of Men.
The key to this film though is the central pairing of Viggo Mortensen and Kodi Smit McPhee . If you didn't believe in or care about this father and son's struggle for survival this film would be an unbearable durge.
Mortensen as usual is outstanding as the gaunt man who knew the world before fighting to keep his own humanity for the sake of his son's. As with Christian Bale in the Machinist, he alsovappears to have shown a finger to food to attain just the right set of hollow eyes and protruding ribs. Surprisingly for a child though, Kodi matches him scene for scene as a child who only knows of a better life from the stories of his father but still has hope somewhere still holds better fir him.
This isn't a bright uplifting film but it is engrossing and a pervasive sense of danger lends the film a constant tension relieved only by the rolling of the credits. If you can bare the downbeat tone this is an outstanding film. An excellent start to 2010 moviegoing.
The apocalyptic event precipitating the film is only hinted at but it's effects are brilliantly realised on screen. No animals survived. All plant life has died and everywhere is ash. A lack of colour that isn't quite black and white gives the landscape a haunted, lifeless quality far beyond the hopeless feeling evoked in the not dissimilar Children of Men.
The key to this film though is the central pairing of Viggo Mortensen and Kodi Smit McPhee . If you didn't believe in or care about this father and son's struggle for survival this film would be an unbearable durge.
Mortensen as usual is outstanding as the gaunt man who knew the world before fighting to keep his own humanity for the sake of his son's. As with Christian Bale in the Machinist, he alsovappears to have shown a finger to food to attain just the right set of hollow eyes and protruding ribs. Surprisingly for a child though, Kodi matches him scene for scene as a child who only knows of a better life from the stories of his father but still has hope somewhere still holds better fir him.
This isn't a bright uplifting film but it is engrossing and a pervasive sense of danger lends the film a constant tension relieved only by the rolling of the credits. If you can bare the downbeat tone this is an outstanding film. An excellent start to 2010 moviegoing.
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