2012. Dir: Tony Gilroy. Starring: Jeremy Renner, Rachel Weisz, Edward Norton, Stacy Keach and Oscar Isaac. ●●●○○
Perspective depends very much on how you look at things. Well, duh! No, I mean that seriously. So as a child when I experienced new movies I was instantly astounded, prepared to proclaim them as cinematic masterpieces. Disney's The Fox and The Hound was the best film ever, Clue a work of comic genius, even the first 18 film I ever saw (Arnie's The Running Man) was claimed as a milestone in on-screen entertainment. For the record only one of those statements would I still describe as true. But what has this to do with my review of The Bourne Legacy? Well, friends, I have never seen a Bourne movie. I have never watched Matt Damon kill someone with a Sunday supplement, nor imagined the moral dilemmas of waking up a programmed Government assassin. So, unlike nearly every other reviewer on the web, I cannot judge Tony Gilroy's franchise extension against the previous trilogy, a comparison that doesn't favour the new film by all accounts, all I can do is compare it to thirty something years of watching action films.
And it's a perfectly acceptable slice of cinema, neither great nor bad, but diverting and fun to watch but utterly disposable.
Given my ignorance of the original movies I'm almost certainly not the target audience, the entire movie concerns a parallel story of The Bourne Supremacy bookended between Paddy Considine's journalist assassination and the trial of David Strathairn's shady CIA controller (brought back in the form of a pointless cameo with Joan Allen and Albert Finney, all of them no doubt enjoying substantial fees for one day's filming). Meanwhile numerous references to secretive projects and Government agencies make very little sense to the casual viewer. The crux being, as the advertising handily suggests, there was never just one. Never just one unaware killer and never just one corrupt agency building an army of unquestioning assassins.
As the news of Bourne's re-integration into society buzzes around the intelligence community, Jeremy Renner's supersoldier Aaron Cross is on exercises in the forests of North America, working his way across mountain and river to Oscar Isaac's isolated cabin. He's an impressive specimen, fighting off wolves bare handed, leaping across vast chasms and breaking records for reaching the shelter. Whilst he and Isaac's sulking number 3 get better acquainted Ed Norton is in damage control mode, pulling strings and closing programmes with cold efficient calculation, and soon Cross has to be taken out of the picture. Cue the start of a long game of cat and mouse where Norton and his cronies scream into telephones whilst Renner trots around the globe, always one step ahead, picking up Rachel Weisz's imperilled scientist and searching for the blue and green pills that stabilize his enhanced capabilities.
The drugs are nothing more than an international McGuffin, explained away with all the pharmacological veracity of primary science project. As the moral implications of taking an injured Iraq vet, with questionably too low an IQ to make an informed decision about his future (yes, this really is a modern Charley) turned into a fit, intelligent junkie able to volunteer for the most complex and dangerous spy missions, not to mention the extraordinary capacity to kill or maim highly trained combatants, are swept aside so Renner and Weisz can have a motorcycle chase on the bustling streets of Manila.
Renner does good action hero, suitably buff yet perennially tortured he has the perfect physicality for this sort of work. Not that he's given much chance to act, there's a nice exchange or two with Isaac, but alas much less chemistry with Weisz, possibly because here character is so underwritten and panicky. Don't get me wrong, no-one does emotional collapse quite like Rachel, but the arc is both predictable and forced.
Where the film sings is the set-pieces. A massacre in a lab is played out in real time with cold, patient camera-work and the extras acquitting themselves well as their plead or bleed through their last moments. Then a major plot twist in Weisz's house is played exceptionally well, switching from an uncomfortable interview to a chaotic gun battle in a blink of an eye. Even the final bike chase, whilst a little too long, showed some great stunt work and some excellent marksmanship.
On directorial and scripting duties Tony Gilroy brings the same high-quality, unimposing style we saw on Duplicity and Michael Clayton but alas he doesn't give his creations the zingy dialogue or intellectual sparring he brought to previous work, leaving us partly detached from the proceedings.
As I said at the beginning The Bourne Legacy isn't a bad film, but it's no great one either. Probably worth renting but not the trip to the cinema. Although personally I'm going to have to fork out on the original trilogy before watching it again.
Tuesday, 21 August 2012
The Bourne Legacy
Thursday, 16 August 2012
360
2011. Dir: Fernando Meirelles. Starring: Anthony Hopkins, Rachel Weisz, Jude Law, Maria Flor and Ben Foster. ●●○○○
Do you remember when Peter Morgan used to write structurally tradition biographical screenplays that read like simplistic portrayals of The Queen or Brian Clough but revealed inner depths that challenged the viewers perception of the central characters and ultimately displaying hidden their humanity. That time is gone, Morgan has clearly seen the success of multiple character dramas like Amores Perros and Crash and wishes to emulate them whilst ensuring we understand the deeper meaning. Last year his heartfelt humanist parable of death, Hereafter, showed how the emotional thematic elements eventually over-shadowed the interest we developed in the characters and the final act shoved all the storylines together to forcibly underline their individual arcs and yet rang false. In 360 he returns to the hyperlink drama charting the sexual and emotional connections of a diverse group of strangers across globe, and unsurprisingly the point feels just as tacked on and a good half of the plotlines feel so insignificant they could be cut out completely.
The film starts (and, without really spoilering, ends) with a young lady shooting a topless advert for a hooker internet profile, it's a nod to Arthur Schnitzler's turn of the century scandalous play La Ronde, bookmarked by a Viennese hooker, on which the concept of 360 is based. But where Schnitzler intended to shock his audience into the realisation that sex was both natural and dangerous (the play essentially follows a strain of Syphilis as it journeys between class and national borders before returning to the whore who kicked it off) Morgan wants to comfort us, there's a streak of misplaced romanticism that forces characters to get into cars with each other or to not have the affair they were planning. The theme of connection, the 360° we go through, is merely the means by which we make many story, rather than the end in itself.
So sexy Slovakian Lucia Siposová is about to offer herself to cuckolded husband Jude Law. He wimps out and goes back to his wife, Rachel Weisz, not so subtly having an affair with Juliano Cazarré (frankly who wouldn't). But before you can say plot device Rachel is back with Jude watching their daughter forget her lines in the school play and Juliano's live in girlfriend, Maria Flor, has also run off having caught the whole thing on tape. She gets on a plane with chatterbox Anthony Hopkins and they both get caught in a snowed in Denver with paroled sex offender Ben Foster. Hopkins then runs into Dinara Drukarova at an AA meeting before she goes back to Paris to tell her husband Vladimir Vdovichenkov it's over before expressing her love for her dentist boss Jamel Debbouze. Vladimir, feeling vaguely rejected but clearly not that put off, drives to Vienna with his obnoxious boss Mark Ivanir before a meet cute with Gabriela Marcinkova, the sister of Luica Siposová.
That's the plot in a nutshell and apart from the relentless coincidences that take us round full circle, the only real spoiler in there is the always watchable Jamel Debbouze playing a conflicted dentist, the sort of career choice that often gets marginalised on screen but here really informs their romantic stirrings.
The film started badly, with neither Law nor Weisz making interesting enough character choices to make me care if their marriage floundered or not. If it wasn't for Cazarre cavorting around in nothing but a towel, tattoo's and Clark Kent glasses I'd have walked out.
Luckily the second act, focussed around Flor, Hopkins and Foster kicks in. The three of them are all at the top of their game, Maria slipping between sisterly affection and drunken flirting and Ben tightly wound and electrifying with potentially every extra in the airport a victim if he can't control his urges. Meanwhile Hopkins gives a superb performance that reminds us of how potent a film star he can be - his speech at the AA meeting, drawing as much from his own experience as from the script is as heart-warming as it is heart-breaking. In those three characters, all of whom must turn over a chapter in their lives, director Fernando Meirelles finds a chord, allowing the comedy to flow organically, the tension to build (there's one scene I nearly had to cover my eyes for) and the pay-offs for the characters were rewarding for them and for the audience in a way the rest of the film failed to deliver. Yes, from there it quickly descended into Russian gangster and tart with a heart clichés.
Elsewhere Meirelles doesn't seem to have the confidence in the material, the occasional camera flourishes and cutting techniques only hammer home the themes rather than hint at them, like Clint Eastwood before him, he seems unable to make a solid enough film from the good script sections to allow to forgive the weaker parts, and the variable script is what really lets 360 down.
Overall I can't recommend the film, but if anyone every offers you the chance to watch a 30 minutes short about Maria Flor, Anthony Hopkins and Ben Foster stuck in an airport I urge you to watch that masterclass in screen acting.
Monday, 7 March 2011
Rachel Weisz
Happy Birthday to
Rachel Weisz
41 today
In spite of her Oscar win five years ago Rachel has yet to live up to the promises of her career post Constant Gardener, all that may be about to change with Terence Malick and David Hare collaborations in the pipeline. I'm looking forward to three of her upcoming projects in particular: adult haunted house fable Dream House, the expose on sex between classes 360 and she's the latest lady to be attached to the transgender drama The Danish Girl.
Saturday, 29 January 2011
20 for 2011: 2 - Dream House
Straining the credibility of my countdown at number 2 is Dream House.
I've been very lucky with the timing as the first shot of Dream House was released just this week, don't Daniel and Rachel look awfully vexed to you? I'm quite partial to high quality drama based direcors slumming it, and after the excellent Brothers I think this is Jim Sheridan's chance to have a bit of genre fun.
The premise involves stars Craig and Weisz moving into their dream property only to find out from the neighbours (Naomi Watts and Martin Csokas) that the previous tenants went on a Manson like killing spree. Oh, and there's a group of cult supporters of the imprisoned mass murderer who keep turning up. Cue some dramatic changes of character and nice jump cuts.
I'm hoping that the mix of Sheridan and thi fine cast indicate there's a quality script from David Loucka underneath the tired cliches of a plot. (Although frankly without this could still be a couple of hours of hokum and fun.)
Friday, 4 June 2010
Out this week (04/06/10)
Unbelievably, out of nowhere, this is a really exciting week. Honestly the overall standard of releases is really quite good, and I didn't see it coming. If you ignore the first film (so I list alphabetically, who can blame me) and read the rest of the post you'll find thrillers, comedies and dramas. I've been trying to second guess which film will be the box office champ and frankly I'm stumped - feel free to guess in the comments but the film of the week, and there must be a choice for film of the week, goes to The Brothers Bloom. 
Bear
As the trailer starts we're told that Grizzly bears, the largest land mammal in North America, will attack when it's territory is being invaded. Then four annoying looking late 20's start screaming and panicking. I don't think the bear just wants a cuddle.
Runs like a Gay Excitometer: ●●○○○○○○○○
Brothers Bloom
Rian Johnson's follow-up to the amazing neo-noir Brick is a far less sober affair, with con-artist brothers Adrien Brody and Mark Ruffalo trying to pull the wool over Rachel Weisz's eyes, only to find the set-up is a little too close to believable. Also starring Rinku Kikuchi and Maximillian Schell.
Runs like a Gay Excitometer: ●●●●●●●○○○
Death at a Funeral
You might ask what the point of remaking the middling Frank Oz comedy from just 3 years ago is? Could it be because you can take the exact same story with a cast of African-American stars and make it more profitable? The US box office receipts may not totally agree with that but I sniggered during the trailer so that's something.
Runs like a Gay Excitometer: ●●●●○○○○○○
4.3.2.1
Noel Clarke has made a couple of very successful, very respected struggling British youth movies, where the mostly male characters are surrounded by escalating violence and sink estates. Here he's trying to appeal to the ladies with four leading female protagonists, with the underwear fetishes and obligatory lesbianism in the trailer I suspect it'll be the lads that go for it in a big way.
Runs like a Gay Excitometer: ●●●●○○○○○○
Girl on the Train
Respected French drama about a girl who reports a fictitious anti-Semitic attack on a train and how her life is transformed. Catherine Deneuve plays her torn mother who know the truth.
Runs like a Gay Excitometer: ●●●●○○○○○○
Kicks
As a Liverpool football star is about to leave for Real Madrid two obsessive female fans bump into him one night and invite him home to say goodbye. There are pluses and minuses to their way of saying it. Odd timing as Liverpool manager Rafael Benitez leaves the city today - unlikely the same will happen to him.
Runs like a Gay Excitometer: ●●●○○○○○○○
The Killer inside Me
Michael Winterbottom's latest movie may be generating headlines for the alleged misogyny and uncomfortable violence it's fair to say there are few directors who could craft such a beautiful looking movie from it's pulpy source. Casey Affleck is perfectly cast as the serial killing deputy with Kate Hudson and Jessica Alba as two of his victims.
Runs like a Gay Excitometer: ●●●●●○○○○○
Rajneeti
Bollywood epic surrounding a major political election (oddly I'd jump at this if it were English language) with a selection of unlikely candidates fighting for public support. Inspired by the Mahabharata, one of the major sanskrit epics of Ancient India.
Runs like a Gay Excitometer: ●●○○○○○○○○
She's out of my League
Jay Baruchel, who you probably don't remember being in a bunch of films, gurns his way through this film with the tag line: How does a guy, who's a 5, keep a girl, who's a 10? How will this sell any tickets.
Runs like a Gay Excitometer: ●●●○○○○○○○
Shrink
Kevin Spacey, oh how we've missed you from serious films, play a celebrity psychiatrist on the verge of an emotional and physical breakdown. The trailer is stuffed with cliches, but it looks smart and pacey enough to get away with it. Celebrity cameos include Robin Williams, Robert Loggia and Saffron Burrows.
Runs like a Gay Excitometer: ●●●●●●○○○○
Friday, 23 April 2010
Out this Week (23/04/10)
With the summer silly season nearly upon us (Iron-Man 2 opening in 7 days) it's the last chance for the studios to give us some interesting arty fare before th multiplexes are block booked, so whilst this week is far from being classic there are some minor gems to be had. Film of the week goes to Agora, although Dogtooth runs it a very close second.
Agora
Fresh from the news she's playing Jackie Kennedy, Rachel Weisz also opens another biopic about a tragic heroine. In Agora she plays the titular Roman philosopher who is eventually assassinated for her secularism. Director Alejandro Amenábar is constantly on the verge of brilliance so this should be one to watch.
Runs like a Gay Excitometer: ●●●●●○○○○○
Centurion
More Swords and Sandals as Michael Fassbender's Centurion (natch) has to run the length of Britain escaping a marauding group of Picts. From Neil Marshall so it will be bloody and repetitive, I should imagine.
Runs like a Gay Excitometer: ●●●○○○○○○○
Cherrybomb
Little Ron Weasley from the Harry Potter films has all grown up, and to prove it he'll take his top off and get a bit rebellious in the Northern Ireland based teenager drama.
Runs like a Gay Excitometer: ●●●○○○○○○○
Dance with Me
The coveted one star excitometer is given to this British set Revolutionary Road rip off, with a couple of unknowns giving it all screaming at each other as their relationship blows apart.
Runs like a Gay Excitometer: ●○○○○○○○○○
Date Night
I really liked the trailer, for this comedy abut a middle aged couple (TV supremos Tina Fey and Steve Carell) trying to respark their relationship with it all going wrong, but apparently it's less than the sum of it's parts. Although the parts include Taraji P. Henson and lots of shirtless Mark Wahlberg so maybe it's worth seeing after all.
Runs like a Gay Excitometer: ●●●●●○○○○○
Dogtooth
Very highly praised Greek film about a repressive family who have kept their children fully isolated from the outside world up until early adulthood. Explores the nature of freedom and social understanding of others.
Runs like a Gay Excitometer: ●●●●○○○○○○
Extract
There was a time when people were really talking up expectations for this essence factory set black comedy with the talented Jason Bateman in the lead, but a middling US release at the end of last year has pretty much scupperd it's chances. Maybe it'll grow on DVD.
Runs like a Gay Excitometer: ●●●○○○○○○○
It's a Wonderful Afterlife
Gurinder Chadha hasn't yet managed to top her achievements with the break-out multicultural hit Bend it like Beckham and it doesn't look like this is the film to do it either. A Hindu mother obsessed with marrying off her frumpy daughter starts poisoning people who get in her way of that perfect wedding.
Runs like a Gay Excitometer: ●●●○○○○○○○
The Joneses
Commercial satire about a fake family who are paid to do product placements in the community. Trailer lacks some bite as the make believe world crosses over into the lives of the protagonists, but it's a nice idea that deserves some investigation.
Runs like a Gay Excitometer: ●●●●●○○○○○
Life During Wartime
Todd Solondz returns to the themes and characters of his 1998 arthouse hit Happiness only with a completely different cast filling out the roles of the sisters the film revolves around. Not as uncomfortable as the original, Solondz doesnt aim the mirror right back at us this time. Bizarre cast includes Charlotte Rampling, Michael Lerner and Paul Reubens.
Runs like a Gay Excitometer: ●●●○○○○○○○
Sky Crawlers
Japanese animation, from the people behind Ghost in the Shell, about a group of permanent adolescents living life to the full as they are pitted in wars as a form of entertainment. Sounds complex enough. Rinko Kituchi is one of the key voice performers.
Runs like a Gay Excitometer: ●●●●○○○○○○
And missing from last weeks rundown was
In Ghost House Inn
Ashokan reprises his signature role of Thomas Kutty and buys a bungalow in Ooty; the property is believed to be haunted by the ghost of a woman who was killed 70 years before. This is a Malayaman film from India. I'd never even heard of the Malayaman language.
Runs like a Gay Excitometer: ●●○○○○○○○○
Sunday, 7 March 2010
Rachel Weisz
Happy Birthday to
Rachel Weisz
39 today
Rachel didn't get quite the role our of Peter Jackson's The Lovely Bones that many fans were hoping for, the adaptation even robbing the character of her arc. Maybe it will be Agora that reminds us of how much she is capable of, although personally I'm waiting to see her run in terror from Dream House.
Saturday, 7 March 2009
Rachel Weisz
Happy Birthday to
Rachel Weisz
38 today
Yes, the English Rose that is Mrs. Darren Aronofsky is celbrating her 38th today. Congratulations. She's actually got quite a busy year ahead of her what with Lovely Bones and (if it happens) Dirt Music. I shall definitely be lining up to see her work this year.
