Robin Hood

2010. Dir: Ridley Scott. Starring: Russell Crowe, Cate Blanchett, Max von Sydow, William Hurt and Mark Strong. ●●●○○



Russell Crowe famously exclaimed "Are you entertained?" at the end of his first Gladitorial contest, and whilst I could answer a very definite yes when watching his first collaboration with director Ridley Scott here in Robin Hood I could only say that whilst I was entertained a little it was only sporadically during the film and probably not as much as I should be when watching the 'origin' tale of the bandit of Sherwood forest.

The film starts well with a frantic siege on a French castle, as the virtual bankrupt English King Richard pays for his return to Britain. We are introduced to a bunch of expendable knights and our heroes Robin Longstride (Crowe) and some Merry Men. Not only is this the best action scene in the movie, you can't fail with boiling tar and castle storming, but it also thankfully puts the Robin Hood legend into some historical context. Medieval fiefdoms essentially controlled large parts of the country with the King as only a figurehead that they report to is an important concept to put forward, as well as the appalling levels of violence and political unrest.



We also cut to London where Eleanor of Acquitaine (Eileen Atkins channelling Katherine Hepburn) is attempting to control her wayward son Prince John (the unfeasibly good looking Oscar Isaac) as he cheats on his wife and goads the French king into war. The French King who is in cahoots with John's childhood friend Sir Godfrey (Mark Strong) to attack England at it's weakest.

So far we've spent most of the film with the royal bit characters with Crowe only used as a blatant example of the british heart of oak, naturally historical accuracy helps to balance this out with Richard's untimely death and a number of convoluted twists leading Crowe back to England with the Crown (which he safely delivers to the new king) and the name and Sword of Nottingham's most influential knight.

On returning to the East Midlands he's persuaded by the cantakerous blind father of said deceased knight (Max von Sydow) and the widow Marion (Cate Blanchett) to take his place in order to prevent the state taking their castle - is this a thinly veiled support of Conservative plans to increase the Inheritance tax threshold - and to generally restore order to all of Britain.

On the plus side the script is more coherent than Kingdom of Heaven, Scott's last foray into the Middle Ages, but it does suffer from the same saggyness and lack of humour. At times we appear to be going in circles with superfluous battles and unnecessary plotting - why, for instance, does Robin's lineage have to be both significant to the plot and unknown to Crowe - and on the other hand supporting characters are given no chance to develop themselves. Why does Sir Godfrey want to help the French? Does John really believe the points he's making? Why does William Hurt consumate politician not think before he ever opens his mouth?

I said earlier that the first action scene is the best, I think it's even more fair to say the last is the worst. The invading French army land at some very big cliffs perfect to be rained on by British archers and proceed to just stand their whilst the repelling English army rides across the country to trap them on the beachfront. Of course every speaking character who's still alive joins them. Would it be silly to have Marion and Friar Tuck (a woman and an obese priest) turn up on the South coast to fight the French, of course it would, but there they are...

On the acting side Crowe tries too hard with a wavering accent so comes across the least impressive from the major performances, Blanchett gives a suitable sarcastic performance and Max von Sydow shines in his thankless role. Both Mark Strong and Matthew MacFayden (virtually cameoing as the Sheriff of Nottingham) desperately try to out Rickman each other with both of them coming short.

I suppose that comparison may even be the major issue with the film. Whilst it is a solid piece of film-making (Scott continues to make me believe he's just a hack for hire who lucked out in his early career) it has none of the sexual chemistry, derring-do or fun of either Robin Hood: Prince of Thieves or The Adventures of Robin Hood. The film may be making interesing points about Hood's place in history but it fails to entertain whilst doing it, and that, for such a wonderful folktale, is unforgiveable.

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Shutter Island

2010. Dir: Martin Scorsese. Starring: Leonardo DiCaprio, Mark Ruffalo, Ben Kingley, Max von Sydow and Michelle Williams. ●●●●○



I'm not much of a reader. Sure, like anyone I can devour an airport paperback in a couple of sittings, but these are few and far between. I spend much more time between books, with dogeared classics drifting around my desk waiting for the first chapter to be tried agian. Occasionally though I make a bit of effort. It could be because I love the author's style (Michael Chabon, J.G Ballard) or because I've heard great things (The Time Traveler's Wife, Curious incident of the dog in the night-time) OR because I hear there's going to be a movie made form it. Which how I came to read Dennis Lehane's Shutter Island.

I hated it.



But that negative experience meant that I could, when the film came out, watch it with a understanding of where the plot was going and pre-warned about the style. Lehane, who specialises in adult crime thrillers (Mystic River and Gone, Baby, Gone have both been sucessfully adapted to the big screen), set out to write a genre piece, a gothic mystery with a dramatic twist. As a novel I felt it didn't work as the ending was too neat, too cliched to be true. Of course it's a film cliche, anyway, so naturally it works better in that medium.

As the film starts we see a ferry coming out of the mist on it's way to the titular island and its maximum security institute for the criminally insane. Before we've had a chance to fully register the characters Marshalls Teddy Daniels (DiCaprio) and Chuck Aule (geddit???!!! - Mark Ruffalo) are being thundered away from the dock in an open top jeep to a soundtrack of intense classics.

The plots own macguffin is escaped prisoner Rachel Solando who's miraculously squeezed through her bars and disappered into the inhospital island, and the Marshalls have been called to help track her down. Not that that's the only thing on DiCaprio's mind. Whilst he's there he must find out the truth about the secret mind drugs that sinister phychiatrist's Ben Kingsley and Max von Sydow are dishing out and avenge the murder of his fragile wife Dolores Chanal (Michelle Williams) by the arsonist Andrew Laeddis who may also be, unregistered, in the island. Meanwhile he's suffering from violent headaches, dreaming about his wife's murder, suffering from flashbacks to World War 2. And, to top it all off, there's a big storm coming.

If all of this combined makes it seem like there's an awful lot going on, you're right. But remember most of these events are red herrings. The film is packing in incident and characters to confuse you, to obscure the truth from your vision. Like the fog in the opening, we aren't meant to understand the full implications of the search until that thrid act reveal. Although you could read those last two paragraphs and in effect solve the entire mystery.

Marty knows what he's doing with the story, in what must be his most satisfying film since Goodfellas. The sensibility of the novel and the genre is a ball that Scorsese is more than happy to pick up and run with. Every underlined clue, every musical cue, every jumpy edit seems to be perfectly judged to reinforce the storys central conceit. It is both a pastiche and a modern response to the melodrams of the 40's and 50's where the heroine (usually) begins to doubt her own security and sanity The Spiral Staircase, Gaslight and Sorry, Wrong Number all come to mind.

To that end we also completely forget it's a Scorsese picture, wih it's use of a classical soundtrack and heavy handed symbolism it's about as far away from his past masterpieces as you can imagine. Only the concentration camp shoot out with it's relentless tracking shot is a clue to who you're working with.

In the lead role DiCaprio continues to grow as an actor, able to convey much with a look or a throwaway line. Even the more outre choices - like the completely gonzo scribbling - seem to fit with the characters arc. The way he plays the final scene by the doors of the asylum is incredible, a massive awareness of his situation combined with a confidence about the path he must follow.

I expect in 10 years time we'll look back at this period in DiCaprio's career (with this Inception and Clint Eastwood J. Edgar Hoover biopic) when he truly matured into the greatest actor of his generation

Ben Kingsley also givs a rare performance as the doctor in charge, slipping from playfulness through exasperation to dismissive sometimes within a single speech.

As you would expect in a Scorsese picture the design is solid, with Dante Ferretti's (Casino, Interview with the Vampire) production design inside Robert Richardson's (Inglorious Basterds, Powder Keg) lens meaning every frame is a piece of art.

Overall this is a wonderful throwback to the films of yore, only let down by it's lack of ambition, with no commentary about the world outside of the film.

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Out This Week (19/02/10)

I'm a little ashamed about this week's releases. Not that the releases themselves have shamed me, but that the excitometer numbers are a little high. You see although part of it is based on what I think about the trailers and the concept equally a large part is defined by reviews, cast, off-screen talent and awards buzz. So there are three films getting high scores this week, and I have to admit it's mainly due to the oscar noms. So ignoring them I'd probably recommend Samantha Morton's foster drama The Unloved (although it was screened on Channel 4 last year so I'm not sure why it's getting a cinema release. Regardless, mathematically the film of the week is The Lovely Bones.



Closed Book

Tom Conti is a blind art historian, Daryl Hannah his mysterious assistant helping him with one last book. There are secrets galore in this murky thriller, but aside from the money shot of Conti with just empty eye sockets there's little to recommend it.

Runs like a Gay Excitometer: ●●●○○○○○○○



Crazy Heart

This is the film that will bring Jeff Bridges his fully deserved Oscar. Naturally this film would have normally faded away over time, but for this reason only it will stay in the history books. I'm sure Jeff's performance as a washed-up country singer hitting the bottom of his bottle and rock bottom of his life is worthy, however...

Runs like a Gay Excitometer: ●●●●●●●●●○

Headless Woman

The third feature from acclaimed Argentinian director Lucretia Martel follows a middle class mother of three who begins to lose her sanity after running over a neighbours dog.

Runs like a Gay Excitometer: ●●●●○○○○○○

The Last Station

Based on the final days of Leo Tolstoy's life, apparently the vast majority of the screenplay is based on the diaries that most of the characters are keeping. In that respect it's as close to the truth about what happened as can be made about events that took place 100 years ago.

Runs like a Gay Excitometer: ●●●●●●●●●○

The Lovely Bones

Peter Jackson's adapatation of the Alice Sebold novel. The novel has a wistful attitude to death which may have been lost in translation but Jackson's always a fascintaing director, even when he mis-fires - as this might be - it's worth taking a look at.

Runs like a Gay Excitometer: ●●●●●●●●●○

Solomon Kane

Puritan adventure (now's there's a combination you don't hear everyday) as 16th century soldier James Purefoy battles ancient demons and shadowy sects to save Rachel Hurd-Wood (and his soul, apparently). Expect much blood-letting and faux-important speeches. Max von Sydow and Pete Postlethwaite lead the supporting cast.

Runs like a Gay Excitometer: ●●●●○○○○○○

The Unloved

First shown on TV last year, Samantha Morton's disection of the foster care system, with all it's failures on display, gets a belateded cinematic release. Morton writes from the heart, having spent much of her childhood in care and the deeply unsettling child's view of situations they cannot understand or control is hugely affecting.

Runs like a Gay Excitometer: ●●●●○○○○○○

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20 for 2010 - Robin Hood

And so, a full 17 days since we started, here is my most anticipated film for 2010, hitting the bullseye is Ridley Scott's Robin Hood.



Perhaps it's an odd choice, delayed due to wrong colour leaves and with a revolving door for the cast list (Sienna Miller as Maid Marian - ugh, Vanessa Redgrave as Eleanor of Aquitaine - dropped out) there was lots to make you worry. There was also the Ridley Scott factor. I am not a fan of Scott. Whilst he has made some of the greatest films of the 20th century I think that's more luck than judgement - when things go right they go very right, but when things go wrong they go very wrong.

Consider his previous collaborations with Russell Crowe:

2000 Gladiator
2006 A Good Year
2007 American Gangster
2008 Body of Lies

Even in this small selection we can see massive highs (Gladiator) and stinking lows (A Good Year) and the others were closer to misses than hits.


But I believe this will be another high water mark. The trailer conciously echoes the feel of Gladiator and with Brian Helgeland (L.A. Confidential, Mystic River, A Knighht's Tale) on scripting duties hopefully it will be tight and without the wandering passages Scott likes to include.

The cast is also top notch, Crowe remains one of my favourite actors. His performance in even the weakest of films manages to be packed with a nuance and power that few of his generation can manage. Cate Blanchett is the perfect Marian, with the right mix of haughtiness and gentility. Casting group of largely unknowns as the Merry Men and current go-to baddie Mark Strong in a villianous role only help.

Finally I will confess a deep and abiding passion for the tales of Robin Hood. As a child one of my most thumbed books was about this extraordinary figure from English folklore. I have since devoured every version of this story, from the superb Curtiz film (the best so far) to the current BBC afternoon TV series via Disney and Kevin Costner. It's no coincidence that I ran the Robin Hood marathon last year.

The competition...

Thank you so much to Alex, Tom and Andrew for participating. Unfortunately you all missed the mark. I can understand why you guessed the films you did, The Last Airbender, Harry Potter and Toy Story 3 all look like interesting projects, and are all big summer releases. I will probably see M. Night Shyamalan's latest, but probably grudgingly. Whilst I want the Potter films to do well, I've only seen one at the cinema after having hated the first book. Talking about hating I've avoided Pixar at the cinema since my excruciating experience at Monster's Inc - I don't want to talk about it - saying that I loved Wall-E when I saw it on video and Finding Nemo is now one of my favourite films of the last 10 years so I may try and go again.

I suppose I could have given more clues, although Robin Hood was my most talked about film in the News posts from 2009, and today's birthday was no coincidence...

Anyway as no-one won, but you're all good readers who frequently make nice comments, I'm going to award a draw. I'll send small packs of minstrels - a taster rather than a chance to gorge - to each of you. Please e-mail addresses to ben-j-thomas@hotmail.co.uk and I'll pop them in the post to you.

Cheers

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Max von Sydow

Happy Birthday to

Max von Sydow

80 today

To have one iconic cinematic image is something to be treasured but to have 2 (playing death at chess and arriving to exorcism the demons) is surely incredible - so much so I can't think of anyone else with two - feel free to disagree. Next up for Max is Scorcese's Shutter Island, as I remember the role requires sitting in a big armchair and sounding sinister - that sounds like von Sydow to a tee.

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