2012. Dir: Tim Burton. Starring: Johnny Depp, Michelle Pfeiffer, Helena Bonham Carter, Eva Green and Bella Heathcote. ●●○○○
Don't get me wrong, I enjoy the film-making process and I don't begrudge others for enjoying it, but just because there's lots of fun being had on screen doesn't mean the audience will have fun, in fact it's often the case that the more fun the cast and crew appear to be having the less fun the audience have. And there's a lot of fun being had on screen in Dark Shadows.
The film opens with a pointless scene setting flashback narrated by Johnny Depp's Barnabas Collins detailing the history of his relationship with witchcraft practising Angelique Bouchard, played by Eva Green. There's opulent architecture, triple murder and Collins transformed into a multi-knuckled blood-sucking vampire. Tedious and irrelevant the passage only seems to exist to attempt to cover over the gaping plot holes yet to come.
Fast forward 200 years to the mid 1970's and a mysterious stranger is heading to Collinsport, Maine, a young girl answering an newspaper notice for a Governess in the
dilapidated manor, a young girl with a surprising similarity to the ghostly ex-fiancee drifting around the cobwebbed corridors. Not least because both are played by Bella Heathcote. She meets the stern matriarch, Michelle Pfeiffer who remains far more dignified than this trash deserves, and is soon assisting alcoholic psychologist Helen Bonham Carter in the education of the youngest heir to the Collins dynasty.
But wait, where is the unsubtle presence of arch over-actor Depp? Never fear, he is soon to be released from his subterranean prison by an unwitting assortment of building engineers - although quite why they're digging the foundations for a MacDonalds so late at night isn't really answered - and before long he has returned to the family home and vows to restore the fortunes and dignity of the Collins estate.
What follows is approximately 90 minutes of repetitive fish out of water jokes - many of which were in the trailer - oodles of sexual chemistry between Depp and Green (although oddly none between Depp and Heathcote) and a final showdown between witches, vampires, ghosts and most preposterously werewolves. Note I am not saying werewolves are more preposterous than the other assorted monstrous characters however when a character comes on just to admit their Lycanthropic tendencies minutes before the end of the film when there's been no hint of it before smacks of writerly indulgence.
Depp adds another oddball character to his repertoire, neither good nor bad in the scheme of his past work, it is most definitely not in any way original. Whilst the supporting cast relish the opportunity to go for one-dimensional turns reflective of the soapy source material, wasting such diverse talents as Chloe Grace Moretz and Jackie Earle Haley. Only Green, displaying the sultry, slutty, animalism of the slighted femme fatale gives anything close to a performance worth remembering.
Regular Burton collaborators Rick Heinrichs (returning as Production designer after a 11 year absence) and Colleen Atwood (costuming for Tim for the 9th time) have done excellent work hear, mercilessly revealing the 1970's as the most garish an unappealing design decade of the 20th century, whilst staying true to the gothic roots you would expect for this haunted house melee. The design motifs are the stars here with the intricate Collinsport Mansion with it's nooks, crannies and secret passages as much a character as most of the performers. Unfortunately I can't help but wonder whether they've missed a trick here - if the aim of the movie was to replicate the cheap shonkiness of the original series which would explain the drab characterisations and left-field plotting - then why not play around with deliberately crass production design, the sort of wobbly walls and rubber effects that made Ed Wood so memorable.
It's hard to see what Burton is really trying to achieve with this homage to TV mediocrity. Is he celebrating it's joyous unprofessionalism or slyly satirising horror tropes? Either way this film fails to achieve those aims and I really can't recommend it for anyone.
Thursday, 24 May 2012
Dark Shadows
Saturday, 17 March 2012
My family and Other Animals (Out this week - 16/03/12)
Here in the UK there are sometimes some really odd release clashes which come as a huge shock to those of us who pay attention to global box office strategies. This week there’s a real conundrum for the multiplex crowd with three US chart toppers set to battle for the top spot (admittedly one of them hasn’t opened yet, but it seems like a no brainer this weekend), and bizarrely none of them will have the screen count of The Best Exotic Marigold Hotel or John Carter. Of course I won’t be recommending any of those films as my top choice, lets face it the general public have proven time and time again that they’ll watch any old dross. I won’t be going with the two very highly praised foreign language offerings either. Instead I’m nailing my middle of the road colours to the mast and choosing a family drama about Matt Damon reconnecting to his kids with the help of a tiger and Scarlett Johansson. RLAG Film of the week: We Bought a Zoo.
Unsurprisingly John Carter of Barsoom just about took the top spot in last weeks charts, but be not fooled the £2m gross was pathetic by blockbuster standards and given the critical drubbing and poor word of mouth I can’t see it maintaining any defence against this weeks new releases. Tellingly the number of showings for Andrew Stanton’s overpriced misfire has – in my local cinema at least – reduced to less that the aforementioned Judi Dench does Jaipur dramedy. But what’s going to take the top slot? It’ll certainly be close but I reckon 21 Jump Street with it’s promise of big action, big laughs and big Channing Tatum will sneak ahead of the rest of the pack, sure there’s no awareness of the antecedents this side of the pond, but the reviews are very positive and it will probably appeal across the spectrum.
We Bought a Zoo
Based on the memoir of Benjamin Mee, the British journalist who lost his wife to cancer and set about reinvigorating Dartmoor Zoo (although it could have been the other way round in real like) Cameron Crowe’s first film since 2006 looks like a sweet option. Matt Damon is the everyman father figure helping his kids through the grief whilst impulsively buying a Southern Californian animal sanctuary. Aided by Scarlett Johannson (Oh you know where that storyline is going) and Thomas Haden Church he must find a way to open the zoo and save the animals. Yeh!
Runs like a Gay Excitometer: ●●●●●●○○○○
You'll find the trailer for WBAZ, as well as the trailers and synopsis from all of this weeks releases after the jump, including undercover cops, counterfeit cash and an apple caught in a stream.
Luckily this is not the type of film that has much to spoil so it doesn't matter the entire plot is in the trailer.
In Darkness
Based on the true story of Leopold Soha this Oscar nominated Polish movie exposes an untold story of survival during the Nazi occupation. Soha, initially motivated purely by profit, gave a disparate group of Jewish refugees a chance of survival by housing them in the sewers and delivering their supplies. Reviews indicate this is not an easy film to sit through, and perhaps the situation (excluding the locataion) feels a bit overdone but the characterisations of Soha and the refugees are excellent.
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Once upon a Time in Anatolia
If you see just one Turkish film this year then make it Anatolia, on one level it’s a simple police procedural, following an uninspiring collection of coppers investigate the dumping of a body over one very long night, but on the other it’s a philosophical discussion of the nature of criminality, of the place of Turkey in 21st century politics and the repetitiveness of life. It ain’t a Cannes Grand Prix winner for nothing.
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21 Jump Street
Since last years atrocious Dilemma I’ve been looking forward to seeing Channing Tatum’s next foray into comedy, he seems to be a uniquely safe aware Hollywood hunk and is prepared to work his genetic advantages in ways that undercut the machismo of other chisel-jawed beauties. Here he stars with Jonah Hill, straight off his Oscar nod, as a pair of mismatched cops (is there any other kind) returning to high school to bring down a drug ring. Only to find it’s very different from when they left. I don’t know the original TV series affectionately parodied however it’s most recognisable alumni, Johnny Depp – don’t know if you’ve heard of him, gets a career boosting cameo.
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Contraband
“Marky Mark” Wahlberg wears two hats in Hollywood, as an actor witness his searing performances in The Fighter and The Departed or as a Producer he created the fantastic and virtually cult making series Entourage. Unfortunately when he does both he chooses a derivative remake of Euro thrillers like this smugger with family movie, directed by the star of the Icelandic original. Did get to number 1 in the States. Surprised everyone at the time.
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Kac Wara
Do you remember when Sex and Zen in 3D opened last year we thought we’d seen the lowest point where producers would go to try and burst titties out of the screen? We were wrong. This Polish film looks like the smuttier, less plot driven, comedy version of that. Amazingly it has a IMDb average vote score of 1 so clearly it’s not a film that needs to be seen on the big screen.
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Devil Inside
If you’d asked me three weeks ago which film was likely to capture the public imagination this weekend I’d have plumped for this dreadful looking exorcism, found footage dreck. Obviously it’s not for the quality – I’ve seen one Guardian blogger call it the worst film ever made – but for the early publicity campaign which took the watch audience members scream route to selling the movie which worked so well on Woman in Black and added a twist by showing it IN A CHURCH. However the ads have virtually disappear now and 21 Jump Street looks really funny.
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Saturday, 4 February 2012
I hate to hate you, baby (Out this week - 03/02/12)
It's a cracking week for film choices here in the UK, especially if by and large you don't like people. In fact there's glorious amounts of bile and wrath inviting us to our local multiplex and art-house venue, whether it's caustic writers, poisonous cults or twisted superheroes you're bound to come across some first class sociopaths. I am so happy for that.
I got my box office predictions wrong again last weekend as War Horse kept the number 1 spot whilst The Descendants galloped up to the second place, knocking my bet Monster in Paris down to fourth. This week I'm thinking that whilst Chronicle isn't in as many screens as a couple of other releases the two days previews and decent reviews will give it the top spot.
As for my top pick, I'm was torn between the more arthouse choices, however Roman Polanski has pulled together a terrific cast for Carnage and I'm going to have to reward that alone and make it film of the week.
Carnage
Yasmina Reza's caustic four hander gets the big screen treatment from one of cinema's most notorious auteurs, trapping bourgeois Manhattanites Jodie Foster, Kate Winslet, Christoph Waltz and John C. Reilly in an apartment and watching the veneer of respectability peel away. Delightful.
Runs like a Gay Excitometer: ●●●●●●●●●○
Young Adult
Charlize Theron bristles as the teenage fiction writer returning to her home town to snare her former beau Patrick Wilson. It also marks the return of Jason Reitman and Juno scribe Diablo Cody. Expect spot-on dialogue and great performances throughout.
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Martha Marcy May Marlene
Sean Durkin's highly original first feature received massive praise at last years Sundance and was heavily buzzed throughout the year for his stylistic choices and Elizabeth Olson's breakout performance. Somehow it's never caught on with audiences and didn't receive a single Oscar nod. Saying that I think we can expect fantastic things from both of them in the future.
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Chronicle
Leading the rest of the pack, and by far the most compelling feature on wide release, we have this found footage superhero horror hybrid as three friends are bestowed with extraordinary powers only to discover the darker sides of their personalities. Will probably be remembered for a long time.
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Journey 2: The Mysterious Island
If you don't like your children I suggest taking them to see this horrid looking sequel to the 2008 semi-flop Brendan Fraser kids adventure. Note that Fraser been replaced by eyebrow raise Dwayne "The Rock" Johnson - not sure if that gets explained in the script - and Michael Caine gets a new house on the back of his role.
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Man on a Ledge
After it's disappointing debut at US cinemas last weekend I doubt Sam Worthington's latest attempt to display leading man status will fare much better on this side of the pond, regardless of supporting Jamie Bell's bigger draw here. Ed Harris and Elizabeth banks are among the other cast you'll recognise in this plot so simple they named the pic after it actioner.
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Best Laid Plans
British boxing movie that sort of uses the central relationship structure of Steinbeck's "Of Mice and Men" although I question whether it allows itself to have the bleak ending of that masterpiece. Steven Graham plans the chancer in debt to a Nottingham crimepin, Adewale Akinnuoye-Agbaje his mentally challenged friend forced to fight for him.
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Jack and Jill
Finally, in the why bother to see this crap category, we have Adam Sandler's latest "comedy" where he plays annoying titular non-identical twins, no doubt learning some life lessons whilst farting and fighting in an irritating sub-slapstick way. In the trailers best (only) joke Al Pacino (along with Johnny Depp cameoing as himself) has his Oscar smashed by Jill. I suspect the Academy will want it back anyway after this dross.
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Friday, 11 November 2011
Next stop, Gonzo (Out this week - 11/11/11)
Weirdly, in spite of the fairly OK mix of movies out this weekend all I want to do since I wrote the title of this post is stare at the palindromic date. I hope I don't glance at the clock just after ten past eleven for fear of my head exploding. Of course this weirdness may be due to the stonking amount of alcohol I've had to drink in readiness for our film of the week: 
The Rum Diary
Johnny Depp isn't quite Hunter S. Thompson in this adaptation of his earliest, yet latest to be published novel about a journalist heading to Puerto Rico and finding nothing but booze and money laundering. Co-starring Richard Jenkins (wearing the best syrup in 2012) and written and directed by Withnail & I helmer Bruce Robinson, this has to be better than it's paltry US box office implies.
Runs like a Gay Excitometer: ●●●●●●○○○○
Arthur Christmas
I really don't like the over-commodification of Christmas, and I say that as an Atheist, however I believe the celebration should be reflective of it's religious roots and not just an excuse to flog toys for two months. Yes, this is an Aardman animation so it's probably OK but you won't catch me near it. James McAvoy stars with Jim Broadbent, Imelda Staunton and Hugh Laurie.
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Trespass
Joel Schumacher directed the worst movie I have ever seen in a cinema, no not Batman & Robin which was at least campy and bright but the utterly charmless action flick Bad Company yet I still return time and time again to see if he can top that. Nic's Cage and Kidman look like their having cheesy fun in this hostage in your own home flick so it might just be watchable.
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Immortals
Tarsem Singh directs this latest foray into Greek Mythology, with the help of the producers of 300. Plenty of flesh in the trailer and an extraordinary visual aesthetic make this one to watch even if we expect the narrative to fall down in the same way Tarsem's previous outings have down. All eyes will be on future Superman Henry Cavill, but the brilliant supporting cast includes famous faces like Mickey Rourke and John Hurt.
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Awakening
Nothing to do with Sleeping sickness this homegrown horror flick seems to have been trailering for months, and inspite of it's ubiquity I can safely say I have no intention of watching this derivative nonsense - with Rebecca Hall and Imelda Staunton - in a cinema.
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Rockstar
This Bollywood rom-dram hasn't done much to conceal it's major plot in the title. Unless it turns out to be about India's most famous diamond cutter? I haven't seen the trailer yet so I'm on the edge of my seat about this...
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Wuthering Heights
Andrea Arnold has taken an awful lots of risks in her unique adaptation of the classic Emily Bronte gothic romance, with the casting of a black actor as Heathcliffe, anachronistic dialogue and a foreboding sense of doom creeping across the moors throughout this won't selling to the bonnet and bodice crowd, but it will make for a fascinating look at the novels themes.
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Black Pond
British comedy that's getting a very limited release, possibly due to the dark nature of the concept - upper middle class family have to deal with an unexpected corpse - the surrealist trailer - or the not quite interesting enough cast list of Simon Amstell and Chris Langham.
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Kill Keith
But hey that's pure genius compared to this utter dross of a sort of Tarantino parody (although really only in the title) which mixes pointless celebrity cameos and on the cheap special effects with jokes that feel old and tired in the trailer let alone in real life.
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Wednesday, 25 May 2011
Pirates of the Caribbean: On Stranger Tides
2011. Dir: Rob Marshall. Starring: Johnny Depp, Penelope Cruz, Geoffrey Rush, Ian McShane and Kevin McNally. ●●○○○
Since seeing Pirates of the Caribbean: On Stranger Tides last week the question I've been asked more than any other was "Is it better than the last one?". If there was every a bigger display of the public relations disaster that was At World's End it's hard to imagine. Right now the potential audience for the latest in the Pirates franchise are trying to decide if it's worth going to. The answer is that it is, for the first 30 minutes at least, a better film, however it is still a predictably bad film.
After a bit of Spanish business, introducing the search for the fountain of youth to those of us who didn't really pay attention during the last film, we are thrust into Hanoverian London, with the crowds of artistically dirty peasant baying for the blood of Pirates in the Old Bailey (maybe a better directorial/writing team might have made some parallels to the hysteria over Bin Laden, but perhaps this isn't the right vehicle for that), and pretty soon we're re-introduced to the star of the show Johnny Depp's Captain Jack and his most loyal sidekick Gibbs, played by the good value Kevin McNally. In my cinema the punters cheered with delight when Depp first appeared proving this is his vehicle and as long as he's willing to do this you know there'll be an audience.
We are quickly launched into a hilarious escape bid from the palace of King George (although it appears to have been filmed in Hampton Court which kind of messes up London's geography) and the clutches of his arch-frenemy Barbossa (Geoffrey Rush) which works like a Looney Tunes cartoon full of unlikely ducks and dives, hankerchiefs and strawberries all perfectly placed to aid Sparrow's delightful progress before he is launched onto the streets and into the arms of Judi Dench's cameo - again more could have been made of this, even a hint of Edith Evans in manic Tom Jones would've made it perfect but I did chuckle at her line - until finally he ends up in the pub where Penelope Cruz, masquerading as Sparrow, is recruiting a shipful of pirates to aid her and her father Blackbeard (Ian McShane). The fight between Depp and Cruz is well choreographed and funny to watch, easily the equal of the Depp/Bloom confrontation in the first film.
And then the film shudders to a halt as the various characters make their way to sea.
Like the previous film we spend over two hours with allegiances being swapped and endless exposition of the fantastical plot elements. There's a love story between a Priest and a Mermaid that's insipid enough to wish Keira Knightley and Orlando Bloom would come back, all the battles from here on seem perfunctory or confused and only a final act twist involving the Iberian troops offers anything close to a interesting moment. Given the film repeatedly talks about destiny and fortune telling there are few surprises in the final reel as each characters fate unfolds exactly as you would expect.
Depp and Rush appear to have watched the first Pirates movie and decided to do hammy impersonations of themselves rather than try for any characterisations, whilst the newbies do nothing to ingratiate themselves into the minds of the public. Ian McShane in particular does nothing memorable - there's nothing he does that comes to mind one week after having seen it.
Rob Marshall, the hack director taking the reins (known for his musicals Chicago and Nine), does some nice stuff in the London scenes but he doesn't have either Gore Verbinski's loopy vision or the ability to maintain tension in the second half. Although he's not helped by the flat script peppered with Carry On level double entendres ("I'm for the Missionaries position", "I'm still bent, devilishly so") that remind you this is an action comedy but not enough to persuade.
The highlight, as with all these films, is the music. Klaus Bedelt's main theme is still a corker that acts as a centrepiece for a score that works just as well (maybe better) without the rest of the movie.
Overall I wouldn't bother with this pointless retread, but when it hits TV in a couple of years time it'll be fine to watch the first quarter whilst waiting for something better to come on.
Wednesday, 16 March 2011
Rango
2011. Dir: Gore Verbinski. Starring: Johnny Depp, Isla Fisher, Timothy Olyphant, Ned Beatty and Bill Nighy. ●●●●○
Chinatown, Pale Rider, Cat Ballou, Apocalypse Now, Fear and Loathing in Las Vegas. Off the top of my head there are just a tiny number of the films that Rango either knocks off or pays homage to (depending on your point of view). I could probably go on to name at least five or six more. It's such a cine-literate film it's unbelieveable. That in itself would be a good enough reason to watch this animated movie. The good news is that as well as fusing all these elements it also happens to be laugh out loud funny, combining a touch of the surreal to the animated format. Just don't bother bringing the kids.
The film opens with Johnny Depp's unnamed Chameleon performing a virtual one-lizard show (his co-stars are plastic toys and dead bugs) of derring-do in his safe, comfortable glass cage. Not for long, as his owners lose him off the parcel shelf as they cross the Mojave desert. Pretty soon he's invented the persona of Rango and cleaning up the town of Dirt from it's least pleasant inabitants whilst falling for ranch owner Beans (Isla Fisher).
The comparisons to Chinatown are most striking. Once the story gets going the central mystery about water being dumped in the desert, as well as lines and even characters seem to be lifted directly from Roman Polanski's 1974 Noir masterpiece. With that in mind the identity of the bad guy comes as no surprise as it's the character most similar to Noah Cross - thanks to Ned Beatty for his delightful voice impersonation.
The action sequences are paced well both in terms of individually and where they fit in the film running. The initial crash sequence is slow enough to get a sense of what's happening, building tension, before it catches up into real time with a jolt and the central chase sequence involving a wagon, bats and The Ride of the Valkyries is both hilarious and edge of the seat stuff. Only the final showdown with Rattlesnake Jake (Bill Nighy) seems a slight let down - but then most Westerns disappoint with the fianl battle, even when they're basing the plan on Carry on Cowboy.
Slower moments are provided with the two dream sequences. The first goes in Dali surrealism territory, whilst the second has a mad Clint Eastwood (as voiced by Timothy Olyphant) cameo. There's also a scene by the fireside which speaks to the moral of the movie and is the closest we'll come to tears as audience members.
The design of the film is fantastic, from the always engaging characters (even the background figures are unique and funny and suitably disgusting) to the dryness of the vistas and at times star trails and mirages are so close to being real you doubt whether it's an animation at all. It was also a clever move to keep this in 2D. Any conversion of sterescope would have meant a serious reduction in the light somewhat destroying the illusion of desert heat.
The performances are all great, with Depp and Beatty in particular shining, from a cast outside of Depp who are not so famous it seems like stunt casting.
I would question though whether this is a film for kids at all. Some of the humour is either too bawdy - "Our Mother had an active social life" - or too over the heads of small children - prostate examinations? Most of it is also derived from the references which most kids won't understand. That's not to say they will be bored - there's ample belching and action to keep them entertained but be under no illusions this is a film for the parents even more than it is for their children that force them to go.
Sunday, 23 January 2011
20 for 2011: 6 - Pirates of The Caribbean: On Stranger Tides
Sailing into number 6 on the countdown is Pirates of the Caribbean: On Stranger Tides
Proving I'm as vacuous and empty-headed as most movie goers, like a pre-programmed automaton I will flock to see the fourth peaen to commercialism that is the Pirates series of films. It's hard to imagine any of these years crop of releases claiming the box office crown of 2011, only the new Transformers film has any remote chance (Pixar have only a sequel to a middling performer, the coic book releases are minor characters and Potter and Twilight never seem to be able to make that final leap to the top).
That won't be the only reason to watch, from the trailer there looks to be a scenery chewing competition between Rush and Ian McShane as Blackbeard, not to mention Johnny Depp coming back to do a caricature of his previous performances of Jack Sparrow. It'll be interesting to see if Rob Marshall can carry off action scenes with the same talent he displays with his musicals (all cuts and close-ups, with most of it happening in the characters heads).
I expect my comments come across as cynical, given my thoughts why would this juggernaut appear so high on the countdown? Does the relentless selling of the movie compensate for my fear of it's history? Apparantly so. And to be honest I'll probably leave my brain at the door and just have bit of fun watching it.
Sunday, 12 December 2010
You Can Check out any time you like (Out this week - 10/12/10)
But you can never leave, but more on that later. Late this weekend - and my excuses for this week are even more pathetic than usual. On Friday night it was our Christmas party and I must confess that yesterday I was horribly unwell, my head throbbing I couldn't focus on the screen for long. Today I'm feeling a little better so catching up.
Did anyone guess the link to this week's film in the title? Well it's from the classic Eagles track Hotel California and probably perfectly encapsulates this week's RLAG film of the Week: Somewhere.
Band Baaja Baaraat
There are a couple of Bollywood entries this week, the first of which looks like it's going to give it's target audience exactly what they suspected - it's a romatic comedy set at Delhi University she's organised and has her life planned and he's a slob (ish). Sit back and enjoy.
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Chronicles of Narnia: The Voyage of the Dawn Treader
The third Narnia movie, picking up from the financial disaster Prince Caspian is certainly picking up better reviews and at the moment looks highly likely to claim the box office crown. It's all ships and dragons in this installment and I suspect it wil go down well with the kids.
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For Colored Girls
Tyler Perry takes a break from dragging up for his films and translates the seminal 1970's performance poem by Ntozake Shange. Taking the monologues and threading the storylines together has led to some shock from critics but this looks like an interesting mix. Whoopi Goldberg is among the cast.
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In Our Name
This British Iraq drama may just break the mould on PTSD movies, unlike the majority of American looks at the issue it concentrates on the effect of war on a female soldier, played to perfection by Joanne Froggatt.
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No Problem
It's Bollywood film number 2. Poster has gorillas. No really there are gorillas. I no longer care about the plot the poster has gorillas.
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On Tour
The Burlesque film revival begins here and will carry on with Cher and Christina next week. For now it's a little lower key (although certainly more realistic) as Matthieu Almaric directs and stars as a tour manager moving his girls in the day and watching them perform in the night. Don't take a balloon to the screening.
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Outcast
British/Irish movie that looks part drama part horror and mother and son on the run find themselves in a sleepy village which is then attacked by a beast.
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Somewhere
Sofia Coppola returns to dreamy hotel landscapes, but this time moves from Tokyo in Lost in Translation to the Chateau Marmont. With Stephen Dorff as a famous enough Hollywood actor wondering what to do next in his career.
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The Tourist
This might be OK, but I suspect it's going to be a miss with Johnny Depp and Anjelina Jolie looking incredibly sexy in Venice and trying to capture the breezy chemistry of the 50's spy caper templates that this most resembles.
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Wednesday, 21 April 2010
Alice in Wonderland
2010. Dir: Tim Burton. Starring: Mia Wasikowska, Johnny Depp, Helena Bonham Carter, Anne Hathaway and Crispin Glover. ●●●○○
Back on the 5th March the 2010 year of film really started, sure I had seen 8 films in cinemas already, but Alice in Wonderland was the first of my top 20 films for 2010, it was among the elite that had sparked my attention before the year had even vaguely begun. I am sad to say that it was also the first minor disappointment from that list.
Effectively this is a sequel to Lewis Carroll's well-loved children's nonsense novels in which Tim Burton - notably backed by Disney - returned Alice (Mia Wasikowska - Defiance) to a Underland torn apart with civil strife. With Alice recast as a saviour to the populace, forever destined to slay the Jabberwocky.
It all begins with an utterly pointless and ill-conceived bookend involving a snotty suitor proposing to Alice in front of a crowd of unpleasant toffs. Naturally these segments are there to show how our heroine fails to fit into the real world, and how she grows in confidence to be able to confront these caricatures by the end of the film. It's a dreadful idea but at least it's mercilly quick.
Running away from the problem leads Alice to fall back down the rabbit hole, having forgotten her previous visit she falls into the same mistakes (drinking, eating, leaving keys on tables etc.) as the last time, only without the buckets of tears. Of course she meets all the characters we know and love from the books, including the Mad Hatter (Johnny Depp), The Red and White Queens (Helena Bonham Carter and Anne Hathaway) and The Cheshire Cat (Stephen Fry), as well as a host of British establishment actors in the other roles (Matt Lucas, Michael Sheen, Alan Rickman, Timothy Spall, Imelda Staunton).
This being a 3D kids film there then follows a few chase scenes, some silly jokes and pointy things being pointed at the camera to prove the 3D works. There are some moments of mild peril - crossing the moat or the final confrontation - but on the whole these are pretty tame due to the target audience.
It's hard to know whether it hit the right balance, in excess of $300m in the U.S. receipts seems to indicate it got it right, even when adjusted for 3D premiums. Personally I would have liked to have seen a much scarier version - I think kids can take a lot more fears than we give them credit for - maybe even to the level of Pan's Labyrinth or Tideland both of which clearly owe a debt to Carroll's work. Perhaps a little less action would have been preferable as well. I've found that following too many chase sequences together can be really boring.
On the plus side the design, as you would expect from a Burton film, is fantastic with Art director Stefan Dechant (Avatar) proving once again that he can master an imaginery world. Colleen Atwood's (Silence of the Lambs, Big Fish) costumes were also first class, although frankly I would have been surprised if she hadn't pulled it off here.
I would also like to congratulate two of the performers who really stood out for me, and I don't include Johnny Depp whose performance was utterly baffling. The first was a triumph of casting in Barbara Windsor as the Dormouse, capturing the fierceness of the animated character (even if it wasn't in keeping with the origins). The second was Helena Bonham Carter, who clearly relished in every moment of her screentime, some of her line readings were absolutely delicious ("I do like a fat pig to keep my feet warm", anyone?) and i would glady watch the film again just to see her.
Overall I would say this was a missed opportunity, but enough moments work for it to be worth a visit.
Monday, 11 January 2010
20 for 2010 - Alice in Wonderland
If the combination of "Tim Burton" and "Reimagining" makes you shudder then turn away from my number 7 - Alice in Wonderland.
There are few directors and subjects that go together as well as Tim Burton and Lewis Carroll's delightful nonsense novel Alice in Wonderland. The twisted logic of the original stories sit easily with the gothic sensibilities of the man behind Edward Scissorhands and Sleepy Hollow.
Taking an original slant on the story the films takes up with Alice (played by Mia Wasikowska) some ten years after her previous trips behind the looking-glass, previous trips which she, curiously, can't remember. Running away from a society where she feels seperate and unable to fit in she once again follows a White Rabbit (Michael Sheen).
The totally CGI Wonderland is filled with strange and incredible characters ranging from the gentle (The Dormouse) to the pshychotic (The Red Queen, played by Burton's missus Helena Bonham Carter). Allying herself with Johnny Depp's Mad Hatter and Anne Hathaway as the White Queen, Alice must overthrow the Red Queen and end her tyrannical grip over Wonderland society.
It's the first time Burton has delved with CGI to this extent, so it's going to be fascinating what he makes of it, and the 3D seems to be acutely aware that it's job is to throw things at the audience. The trailer makes this abundently clear.
The strong, mainly British, cast also makes this a potential delight. How often will you get the chance to see Alan Rickman, Stephen Fry, Christopher Lee and Matt Lucas in the same film.
Monday, 16 November 2009
The Imaginarium of Doctor Parnassus
2009. Dir: Terry Gilliam. Starring: Christopher Plummer, Lily Cole, Tom Waits, Andrew Garfield, Heath Ledger and friends. ●●●○○
If you were to brainstorm words associated with the back catalogue of Terry Gilliam then you would almost certainly perfectly describe his latest piece. Indeed The Imaginarium of Doctor Parnassus is a typical example of both the positive and negative aspects of the former Python's oeuvre.
Creative - Inside the titular doctor's travelling show, and it's portal to another dimension there is a unique and beautifully crafted world where anything that can be conceived is not just attainable but perfectly logical. Indeed the entire basis of the plot, where the souls of mankind are fought over by making people choose the end to their story whichever way they feel necessary.
Half baked Yes Terry has this fantastic concept, but he can't think of enough of a story to hang it on - or at lest make a decision to stick with a particular story - is it the wager with the devil we are concerned with, or Valentina's coming of age, or the origins of Heath Ledger's anmesiac stranger?
Cast Great actors Like the venerable Christopher Plummer in the lead, or taking risks withs model Lily Cole and gravelly voiced singer Tom Waits. Even to tragic loss of Heath Ledger, and the subsequently rewriting of the fantasy scenes to introduce multiple actors (Johnny Depp, Jude Law and Colin Farrell) to play alternative Tony's seems utterly organic.
Forget to direct the actors unfortunatly there is little point in being creative in casting if you allow the stars to coast (yes Johnny I'm looking at you), give them nothing to do (Plummer's the lead role but so very one note) or allow free reign (I don't wish to speak ill of the dead but Heath is just plain bad in this). Andrew Garfield is a real find though.
Excellent production design as ever there are some memorable and disturbing images, especially from the dreamscapes and from the inside of the caravan. Anastasia Masaro has a lot to be proud of.
Allow the images to dictate the story dancing policemen in stocking a suspenders may work in a late 60's sketch show, but unless it's forwarding the plot it comes across as indulgent.
When we combine all these elements it's not hard to see how the entire film can be described as classic Gilliam. It's like painting with your neice - enjoyable and fun
whilst you're doing it, but ultimatley messy and forgettable.
Wednesday, 8 July 2009
Public Enemies
2009. Dir: Michael Mann. Starring: Johnny Depp, Christian Bale, Marion Cotillard, Billy Crudup and Stephen Dorff. ●●●●○
The future is here. Forget about James Cameron, Pixar and the whole 3D gimmick, Michael Mann is ushering in the greatest change to cinema since the creation of widescreen. The future (even when it's the past) is digital. And it's crisp and beautiful.
So, I went to see Mann's latest on Friday, and spent the weekend considering the film and how it affected me. Plotwise there is little I can tell you that you can't find out from Wikipedia. Johnny Depp plays John Dillinger, the folk hero like American bank robber from the 30's, Marion Cotillard the coat-check girl he falls for and Christian Bale the G-Man chasing him down.
But the story, and it's inevitable end, is scarcely the point. Mann excels at showing the relationship between the criminal and the cop, at highlighting the differences and similarities between the two. In Heat we understand the dedication that both sides have to their profession, in Collateral we sympathise for both Tom Cruise's hired killer as well as the dogged cops frantically trying to stop him.
The film certainly doesn't disappoint here, we see how Dillinger and Purvis are both driven and exacting men. They both understand the importance of planning the job in detail, and choosing the right team. However we don't get under their skin in the way we have with Mann's back catalogue. The feds are essetially ciphers with no back story or emotions. Dillinger fares better with some interesting insights into his brushes with fame, and the moral exactitude he brings with him to his work; as opposed to the ambitious mafia and pshychopathic mobsters he mixes with. Depp works fine with what he has, the trademark half smile he carries giving the audience a taster of the depth of character, but it's only a start to understanding the man.
Instead it's up to Marion Cotillard (as Billie Frechette) to carry the acting honours. She beautifully conveys how out of depth she is with the world of gangsters and the variations in her attitude are perfect. Another stand out is Stephen Lang, as one of the seasoned Southern agents Purvis calls up. He manages to convey more depth with a look and a way of standing than Bale does throughout the film. I look forward to seeing more of him soon (he's in Avatar).
The screenplay is better with the action scenes. The robberies themselves may seem rushed and interchangeable, although I expect that's deliberate, but the Prison break at the beginning and the woodland shoot out are incredibly tense, and fully draw you into the action.
Kudos to Mann's direction for making these scenes really work.
Congratualtions are also due to the sound mixers, the gunfights sounded exceptionally real and dangerous (and the crowd scenes so alive with rhubarbing) that I was hooked to every pindrop. I'm ashamed to say I completely forgot Elliott Goldenthal was scoring, so I don't expect it's one of his greatest efforts.
I started the review talking about the digital cinematography, and this for me is the highlight of the film. Mann has proved that hand-held camera techniques and up close digital filming can work in a period setting, and can be gorgeous. Every shot seems to be perfectly fit, every angle worked out. With digital film it feels different to the viewer, more immediate, more real. I love that.
Overall this is an incredibly film to watch and listen to. It's just a real shame I didn't feel more about the characters.
Tuesday, 9 June 2009
Johnny Depp
Happy Birthday to
Johnny Depp
46 today
I've been dreading this morning for the last month or so, not because I'm a Deppophile - I quite like the guy - but because his slate is so full of films I want to see this might be the longest birthday celebration/advert for forthcoming pics I've done.
First up is Public Enemies, which I showed you the trailer for last Tuesday. Then later this year we'll see Depp channelling Heath Ledger in The Imaginarium of Doctor Parnassus. In 2010 he'll grace the screens only once, for old pal Tim Burton, as the Mad Hatter in the Alice in Wonderland live action pic. In 2011 we'll him voice a dog in the animated Rango, so there's another box office topper (animated dogs virtually guarantees it). He's also potentially back in The Man Who Killed Don Quixote when Terry Gilliam resurrects that project. Finally (and we're really talking the long game here) Depp will be Tonto to the yet to be cast Lone Ranger.
All in all that's a really impressive slate of films, I'm sure you'll agree.
