Certified Copy
Director: Abbas Kiarostami
Cast: Juliette Binoche, William Shimell
Set in the stunning landscape of Tuscany, Certified Copy follows a couple who appear to have just met as they spend a day discussing life and art while appearing to be getting to know one another. After being mistaken for a married couple in a coffee shop, it gradually emerges that perhaps there is more to this relationship than meets the eye.
With long lingering shots of emotional interaction, philosophical debates whilst meandering through the Italian countryside, and being paced out almost in real time, this is not one for the adrenaline junky. However, once you can see beyond the pompous talk and, at some points, energy-sapping debate, what emerges is a sensitive and well-balanced examination of marriage, sexual politics and relationships. Juliette Binoche as an un-named woman, justifiably won the Best Actress award at Cannes Film Festival for this performance. While often the dialogue takes place off-screen, Director Kiarostami is not afraid to let the camera remain on Binoche, picking up her every emotion and expression, peaking in a wonderful café scene where a single tear seems to sum up a full life.
Dismissing any kind of overt drama, the film is at it’s best when it focuses on the simplicity of a look or gesture, being used to convey the deepest of emotions. Patience is a virtue, and when you manage to stay with it beyond the admittedly fairly boring opening act, that patience is rewarded with a surprising and sensitive story, challenging you to discover what is real and what is fake.
Rating 5/10
Wednesday, 25 August 2010
Saturday, 21 August 2010
The girl who played with fire
The Girl Who Played With Fire
Release date: 27 Aug
Director: Daniel Alfredson.
Starring: Noomi Rapace, Michael Nyqvist, Lena Endre
Rated: 15
The sequel to the brilliant Girl With the Dragon Tattoo, this Swedish film continues the story of hacker Lisbeth Salander (Noomi Rapace) and journalist Mikael Blomkvist (Michael Nyqvist), as they delve into an the criminal underworld, uncovering a sex trafficking ring and a trail of murder along the way. This, the second of Stieg Larsson's Millennium Trilogy books, sees the story begin to focus more on the intriguing character of Salander, a girl with a mysterious and troubling past.
Salander is wonderfully and sensitively played by Rapace, who is undoubtedly a major talent. However, she is an extraordinary splash of brilliance in an otherwise rather un-extraordinary film. While undoubtedly the success if the book it is based on proves the story works in a literary format, unfortunately here, the pacing and energy of the film feels lacklustre. The raw edge and depth of the first film that made it such a huge critical success, here is softened and simplified. One potentially interesting thread about the sex trafficking industry is frustratingly reduced to being a sideline issue. There is little character development - if you have not seen the previous film, you would find it difficult to care for the people involved.
Some of the film's later revelations are poorly handled, feeling cliched and, with one twist in particular, fairly inexplicable.
Compared to the excellent first film, this is disappointing, being essentially reduced to an adequate crime thriller. Despite this, there is enough both to keep the viewer engaged, and to build anticipation for the third of the trilogy being released later this year.
Content advisory: One particularly violent scene and a fairly graphic sex scene, as well as references to a rape.
Rating: 5/10
Release date: 27 Aug
Director: Daniel Alfredson.
Starring: Noomi Rapace, Michael Nyqvist, Lena Endre
Rated: 15
The sequel to the brilliant Girl With the Dragon Tattoo, this Swedish film continues the story of hacker Lisbeth Salander (Noomi Rapace) and journalist Mikael Blomkvist (Michael Nyqvist), as they delve into an the criminal underworld, uncovering a sex trafficking ring and a trail of murder along the way. This, the second of Stieg Larsson's Millennium Trilogy books, sees the story begin to focus more on the intriguing character of Salander, a girl with a mysterious and troubling past.
Salander is wonderfully and sensitively played by Rapace, who is undoubtedly a major talent. However, she is an extraordinary splash of brilliance in an otherwise rather un-extraordinary film. While undoubtedly the success if the book it is based on proves the story works in a literary format, unfortunately here, the pacing and energy of the film feels lacklustre. The raw edge and depth of the first film that made it such a huge critical success, here is softened and simplified. One potentially interesting thread about the sex trafficking industry is frustratingly reduced to being a sideline issue. There is little character development - if you have not seen the previous film, you would find it difficult to care for the people involved.
Some of the film's later revelations are poorly handled, feeling cliched and, with one twist in particular, fairly inexplicable.
Compared to the excellent first film, this is disappointing, being essentially reduced to an adequate crime thriller. Despite this, there is enough both to keep the viewer engaged, and to build anticipation for the third of the trilogy being released later this year.
Content advisory: One particularly violent scene and a fairly graphic sex scene, as well as references to a rape.
Rating: 5/10
Thursday, 19 August 2010
The Expendables
The Expendables
Rating: 15
Director: Sylvester Stallone
Cast: Sylvester Stallone, Jet Li, Jason Statham, and Sly’s entire phone book.
The 1980s were the golden era of the action icon, with true classics like Rambo, Terminator, Die Hard, and Masters of the Universe (?!), all being forged in this epic period. Compared to the spandex-covered, emotionally-compromised Marvel stars of today’s cinema, the heroes of the 80s felt no pain, no remorse, and they absolutely did not stop, ever! That is, until the 90s which introduced a new breed of insipid superstar who acted with their brains rather than their trigger finger.
When Stallone announced he was bringing together the ultimate fighting team for a grunt-fest of epic 80s proportions, those of us with a violent disposition who model ourselves on Arnie’s physique (in my case, successfully) had our hope rekindled.
The opening scene sets the pace nicely with all the loud noises, flexed biceps and blood letting you would want and expect. However, being constructed around a very simple and mainly irrelevant plot (go in, save the girl, blow stuff up), when the action stops and the talking begins, the Expendables seriously loses pace. The much touted scene featuring the Big Three of Stallone, Willis, Schwarzenegger is just plain uncomfortable, with dialogue that is forgettable at best, and at worst makes the skin crawl.
Thankfully, coming out of the mid-section slump, the last half hour more than makes up the mileage. With some beautifully executed deaths, brutal fist fights, lots of big guns and exploding stuff, mixed with a dash of lovely little one-liners, The Expendables finds it’s purpose. Reportedly, Van Damme refused to join the team because he didn’t get the joke. And this is exactly why it works. Populated by a cast grateful to be doing what they do best, and clearly loving every minute, it never gets weighed done with a sense of its own importance or takes itself too seriously, focussing instead on a testosterone driven performance with barely an ounce of grey-matter in sight.
And I, for one, am grateful.
Rating: 7/10
Rating: 15
Director: Sylvester Stallone
Cast: Sylvester Stallone, Jet Li, Jason Statham, and Sly’s entire phone book.
The 1980s were the golden era of the action icon, with true classics like Rambo, Terminator, Die Hard, and Masters of the Universe (?!), all being forged in this epic period. Compared to the spandex-covered, emotionally-compromised Marvel stars of today’s cinema, the heroes of the 80s felt no pain, no remorse, and they absolutely did not stop, ever! That is, until the 90s which introduced a new breed of insipid superstar who acted with their brains rather than their trigger finger.
When Stallone announced he was bringing together the ultimate fighting team for a grunt-fest of epic 80s proportions, those of us with a violent disposition who model ourselves on Arnie’s physique (in my case, successfully) had our hope rekindled.
The opening scene sets the pace nicely with all the loud noises, flexed biceps and blood letting you would want and expect. However, being constructed around a very simple and mainly irrelevant plot (go in, save the girl, blow stuff up), when the action stops and the talking begins, the Expendables seriously loses pace. The much touted scene featuring the Big Three of Stallone, Willis, Schwarzenegger is just plain uncomfortable, with dialogue that is forgettable at best, and at worst makes the skin crawl.
Thankfully, coming out of the mid-section slump, the last half hour more than makes up the mileage. With some beautifully executed deaths, brutal fist fights, lots of big guns and exploding stuff, mixed with a dash of lovely little one-liners, The Expendables finds it’s purpose. Reportedly, Van Damme refused to join the team because he didn’t get the joke. And this is exactly why it works. Populated by a cast grateful to be doing what they do best, and clearly loving every minute, it never gets weighed done with a sense of its own importance or takes itself too seriously, focussing instead on a testosterone driven performance with barely an ounce of grey-matter in sight.
And I, for one, am grateful.
Rating: 7/10
Saturday, 17 July 2010
Inception
Inception - 10/10
Inception is officially my favourite film of the year. Which, given the offerings to date, isn't that impressive. If I say it's the best since Dark Knight (ooh, hang on... theme?) that gives you a better idea. Avatar - yep, incredible world, mind blowing effects, and totally immersive. But as a complete film, Inception is the one on another planet.
Synopsis? Nearly impossible without losing you. Basics - Dom Cobb (DiCaprio) is an expert at invading people's dreams, though it has made him a fugitive. In an offer at redemption he is tasked with planting a thought in a man's subconscious, a dangerous process which requires him to delve deep into the dream world - where things go mental. That'll do.
Top Five reasons to see Inception TODAY:
1 - Chris Nolan - The most imaginative, creative and entertaining director working today. Has never done a bad film and keeps getting better. With a film that has more layers than an ogre, Nolan never loses contact with the central premise, weaving an intricate pattern effortlessly, leading to a most satisfying conclusion. Nolan is also believed to be the only director made entirely of gold.
2 - Effects - When rooms spin and cities fold, you are witnessing some of the most original and exhilarating action sequences since The Matrix.
3 - Ideas - Key to Inception-viewing - Concentrate! In a summer of Marvel and A-Team rip-offs, Inception makes you think, think, and think some more, but never once stops entertaining. It is very rare to find such truly original work in Hollywood these days.
4 - Leo and co - Once again Nolan has assembled a brilliant ensemble cast. With lucky charm Sir Caine fulfilling his now traditional mentor role, the cast list also boasts Ellen Page, Ken Watanabe and Cillian Murphy, all turning in fine performances. The movie, however, is centered around a confident performance from Leo who, Titanic days well and truly behind him, is fast becoming a talent to rival the De Niros and Pacinos. DiCaprio keeps the constant movement grounded, providing an emotional centre to a film which could so easily lose sight of it's heart, but never does.
5 - It's really good - Inception really is a complete movie. Despite the necessarily heavy exposition, the film moves along at great pace, interweaving multiple timescales and locations seamlessly and often simultaneously. Sweeping, expansive shots of vast city-scapes, an evocative and beautifully positioned score, compelling action mixed with compelling characters, all mingle to create a movie that truly is a dream.
See it once, then see it again.
Inception is officially my favourite film of the year. Which, given the offerings to date, isn't that impressive. If I say it's the best since Dark Knight (ooh, hang on... theme?) that gives you a better idea. Avatar - yep, incredible world, mind blowing effects, and totally immersive. But as a complete film, Inception is the one on another planet.
Synopsis? Nearly impossible without losing you. Basics - Dom Cobb (DiCaprio) is an expert at invading people's dreams, though it has made him a fugitive. In an offer at redemption he is tasked with planting a thought in a man's subconscious, a dangerous process which requires him to delve deep into the dream world - where things go mental. That'll do.
Top Five reasons to see Inception TODAY:
1 - Chris Nolan - The most imaginative, creative and entertaining director working today. Has never done a bad film and keeps getting better. With a film that has more layers than an ogre, Nolan never loses contact with the central premise, weaving an intricate pattern effortlessly, leading to a most satisfying conclusion. Nolan is also believed to be the only director made entirely of gold.
2 - Effects - When rooms spin and cities fold, you are witnessing some of the most original and exhilarating action sequences since The Matrix.
3 - Ideas - Key to Inception-viewing - Concentrate! In a summer of Marvel and A-Team rip-offs, Inception makes you think, think, and think some more, but never once stops entertaining. It is very rare to find such truly original work in Hollywood these days.
4 - Leo and co - Once again Nolan has assembled a brilliant ensemble cast. With lucky charm Sir Caine fulfilling his now traditional mentor role, the cast list also boasts Ellen Page, Ken Watanabe and Cillian Murphy, all turning in fine performances. The movie, however, is centered around a confident performance from Leo who, Titanic days well and truly behind him, is fast becoming a talent to rival the De Niros and Pacinos. DiCaprio keeps the constant movement grounded, providing an emotional centre to a film which could so easily lose sight of it's heart, but never does.
5 - It's really good - Inception really is a complete movie. Despite the necessarily heavy exposition, the film moves along at great pace, interweaving multiple timescales and locations seamlessly and often simultaneously. Sweeping, expansive shots of vast city-scapes, an evocative and beautifully positioned score, compelling action mixed with compelling characters, all mingle to create a movie that truly is a dream.
See it once, then see it again.
Monday, 12 July 2010
Predators
Predators - 5/10
Black ops guy Royce (Brody) finds himself dropped (in one of the film's few original sequences) into a jungle which also happens to be the game reserve for the Predator race. Joined by a handful of suitably cliched cannon fodder (silent Asian assassin, murdering swine, Danny Trejo), their one purpose is to be game for what turns out to be a more advanced race of Predator. And so let the bloodfest ensue, complete with aggressive posturing, waving of big guns and the certainty that few will survive.
Anyone who really dislikes suprises will be pleased to hear that Predators does exactly what it says on the tin - Predator with an 's'. Which isn't neccessarily a bad thing. After all, the original (and we will avoid all mention of any other predator films here!) is a strong contender for "Best damn action film ever". If something is worth doing right, it's worth doing right twice.
Comparisons with the Alien/Aliens model are inevitable. But while Cameron reworked the Alien premise to become something more epic and dynamic, here Director Nimrod Antal fails to deliver much more than a simple retooling of the original - complete even with a topless hero finale (though seeing an admittedly buff Brody can only draw unfavourable comparisons with Arnie!)
If you like your films aggressive, mindless and wildly entertaining, mixed with a bit of Laurence Fishburn as an out-and-out loon, then look no further, your popcorn delight is here. While left wide open for a sequel, any further outings for our fanged friends will have to have a little more creative bite to them - perhaps Predators take over an prison colony filled with extremist religious fanatics?
Black ops guy Royce (Brody) finds himself dropped (in one of the film's few original sequences) into a jungle which also happens to be the game reserve for the Predator race. Joined by a handful of suitably cliched cannon fodder (silent Asian assassin, murdering swine, Danny Trejo), their one purpose is to be game for what turns out to be a more advanced race of Predator. And so let the bloodfest ensue, complete with aggressive posturing, waving of big guns and the certainty that few will survive.
Anyone who really dislikes suprises will be pleased to hear that Predators does exactly what it says on the tin - Predator with an 's'. Which isn't neccessarily a bad thing. After all, the original (and we will avoid all mention of any other predator films here!) is a strong contender for "Best damn action film ever". If something is worth doing right, it's worth doing right twice.
Comparisons with the Alien/Aliens model are inevitable. But while Cameron reworked the Alien premise to become something more epic and dynamic, here Director Nimrod Antal fails to deliver much more than a simple retooling of the original - complete even with a topless hero finale (though seeing an admittedly buff Brody can only draw unfavourable comparisons with Arnie!)
If you like your films aggressive, mindless and wildly entertaining, mixed with a bit of Laurence Fishburn as an out-and-out loon, then look no further, your popcorn delight is here. While left wide open for a sequel, any further outings for our fanged friends will have to have a little more creative bite to them - perhaps Predators take over an prison colony filled with extremist religious fanatics?
Thursday, 13 May 2010
Robin Hood - 8/10
The story of Robin Hood is one of the most familiar of English legends, and has been brought to film more than any other historical figure, bar perhaps Jesus. The part has been played by multiple actors, including a fox, and has explored almost every aspect of the famous outlaw's derring-do's. So how does a director bring a new dimension to the well-trodden story? The answer - the now established guaranteed success of an origins story.
Before he gathered his merry men, before he became an outlaw, and before he robbed his first penny from the rich to give to the generic poor, Ridley Scott's version joins Robin Longstride on his way back from crusading with Richard Lionheart. Robin, a common soldier, is disciplined for his "honest and naive" nature, and soon finds his way back to England and into favour on the Loxley estate in Nottingham. From here, the story moves toward the impending French invasion and Robin's role in the battle, as well as his newfound relationship with Marion, played with familiar fiestyness by Cate Blanchett.
Despite the fear of obvious comparisons with Gladiator (same director, same leading man with the same unintelligible growl), fortunately this is not Gladiator in the woods! What emerges is an uncharacteristically lightearted Scott movie, which fizzes with energy and heart throughout. While there are moments of Maximus-inspired, highly quotable philosophising ("Rise and rise again, until lambs become lions"), the tone is light and the inclusion of a brilliantly cast band of merry men provide easy comic relief, while never descending to farce.
It is suprising however, that this is the work of the master innovator Ridley Scott. To say the plot is formulaic is perhaps unfair, but coming from the man who gave us Alien, Blade Runner, and who redefined this kind of epic character piece with Gladiator, it feels remarkably familiar. Scott's magic hands when it comes to the cinematography are still apparent - England has never looked so rich and glorious - as is his ability to choreograph some of the most spectacular battle sequences around. What this film lacks is the creative flair and touch of genius we have become so used to from one of the most significant filmmakers working today.
This minor gripe aside, Robin Hood is still by far the most effective and gripping telling of the story, miles ahead of the turgid Prince of Thieves and even more entertaining than the Disney fox. Crowe is impressive and entirely believable as a common outlaw who stood against a king. The traditional antagonists of King John and the Sheriff of Nottingham have dissapointingly minor, and in places overly comical roles, making way for Mark Strong to once again take up central bad guy duties, a part of the market he seems to be cornering quiet confidently at present. Writer Brian Helgeland, who is enjoying a return to favour after 10 years of decidedly average screenplays, manages to keep the story flowing even through a fairly static mid-section.
A consistently entertaining, lovingly shot piece of summer fare which will stand out as one of the hits of the year. While not scaling the heights of some of his previous offerings, an average Ridly Scott film is still leagues ahead of most other's best.
The story of Robin Hood is one of the most familiar of English legends, and has been brought to film more than any other historical figure, bar perhaps Jesus. The part has been played by multiple actors, including a fox, and has explored almost every aspect of the famous outlaw's derring-do's. So how does a director bring a new dimension to the well-trodden story? The answer - the now established guaranteed success of an origins story.
Before he gathered his merry men, before he became an outlaw, and before he robbed his first penny from the rich to give to the generic poor, Ridley Scott's version joins Robin Longstride on his way back from crusading with Richard Lionheart. Robin, a common soldier, is disciplined for his "honest and naive" nature, and soon finds his way back to England and into favour on the Loxley estate in Nottingham. From here, the story moves toward the impending French invasion and Robin's role in the battle, as well as his newfound relationship with Marion, played with familiar fiestyness by Cate Blanchett.
Despite the fear of obvious comparisons with Gladiator (same director, same leading man with the same unintelligible growl), fortunately this is not Gladiator in the woods! What emerges is an uncharacteristically lightearted Scott movie, which fizzes with energy and heart throughout. While there are moments of Maximus-inspired, highly quotable philosophising ("Rise and rise again, until lambs become lions"), the tone is light and the inclusion of a brilliantly cast band of merry men provide easy comic relief, while never descending to farce.
It is suprising however, that this is the work of the master innovator Ridley Scott. To say the plot is formulaic is perhaps unfair, but coming from the man who gave us Alien, Blade Runner, and who redefined this kind of epic character piece with Gladiator, it feels remarkably familiar. Scott's magic hands when it comes to the cinematography are still apparent - England has never looked so rich and glorious - as is his ability to choreograph some of the most spectacular battle sequences around. What this film lacks is the creative flair and touch of genius we have become so used to from one of the most significant filmmakers working today.
This minor gripe aside, Robin Hood is still by far the most effective and gripping telling of the story, miles ahead of the turgid Prince of Thieves and even more entertaining than the Disney fox. Crowe is impressive and entirely believable as a common outlaw who stood against a king. The traditional antagonists of King John and the Sheriff of Nottingham have dissapointingly minor, and in places overly comical roles, making way for Mark Strong to once again take up central bad guy duties, a part of the market he seems to be cornering quiet confidently at present. Writer Brian Helgeland, who is enjoying a return to favour after 10 years of decidedly average screenplays, manages to keep the story flowing even through a fairly static mid-section.
A consistently entertaining, lovingly shot piece of summer fare which will stand out as one of the hits of the year. While not scaling the heights of some of his previous offerings, an average Ridly Scott film is still leagues ahead of most other's best.
Tuesday, 4 May 2010
Iron Man 2
The first Iron Man sits easily alongside the Dark Knight and X-Men 2 as one of the freshest and most enjoyable comic book movie adaptations to date. Heralding the revival of the brilliant Robert Downey Jr, as well as a superb supporting cast, and some inspired action sequences, Iron Man became an instant hit, leaving the sequel with the unenviable challenge of equalling or bettering its performance.
Just to add pressure, Iron Man 2 is the film which really begins the Marvel master plan of a franchise of superhero movies building to the Avengers film scheduled for 2012. With the Thor and Captain America films already underway, Iron Man 2 begins the process of SHIELD assembling the Avengers unit, with Nick Fury (Samuel L Jackson, signing an unprecedented 9 film deal with Marvel) taking an active role in developments, having been introduced in a teaser at the end of the first Iron Man film. This is perhaps the best context within which to view Iron Man 2 – as the beginning of a bigger story. The prospect of at least nine films of inter-connected superhero stories, culminating in a grand superhero mash-up, is certainly tantalising to even the most reluctant geek.
Inevitably, this means that there needs to be a certain amount of scene setting, and some nods and winks to the coming franchise (of which there are plenty here). It also means that Iron Man 2 does lack the pace and flair of its predecessor. Having said this, the opening twenty minutes is a complete pleasure, with some superb performances – in particular, the film’s second come-back kid Mickey Rourke as Russian protagonist Ivan Vanko – and a beautifully worked car crash sequence on the Monacco circuit.
It is, however, the middle section where the script loses it’s pace. Despite the best of work from the cast, there is simply too much talking. This wouldn’t be too bad, other than much of it feels insignificant. While the tone of the film is light and fun, this means that when trying to deal with some of the darker issues such as Stark’s drinking, sickness and isolation, they lack the emotional tug required to keep the momentum. Even the usually brilliant Sam Rockwell, here as Stark’s main business rival who is attempting to build his own army of iron men, begins to get quite irritating.
Once these issues are dealt with, and characters inevitably get back on track, the last stage sizzling with action packed sequences. Don Cheadle takes over the role of Col. James Rhodes from Terrence Howard (who backed out due to “creative differences” – isn’t it always!), and adds more metal to the mix with the introduction of War Machine, essentially doubling the firepower and explosions to full entertaining effect. The only gripe being that the final battle seems to be over before it really begins, a flaw common in numberous Marvel finales.
While not equalling the success and flair of the previous outing, Iron Man 2 does a solid job of setting the stage for a world we are going to become very familiar with over the next few years. It is perhaps inevitably weighed down by it’s responsibility to a franchise and the expectation to give significance to proceedings. Nevertheless, Iron Man 2 manages to avoid the dud-sequel curse and just about manages to keep the attention, largely due to the charisma of an outstanding cast.
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