Harrison Ford, Cate Blanchett, Karen Allen, Shia LaBeouf, Ray Winstone, John Hurt, Jim Broadbent
Dir. Steven Spielberg
Scr. David Koepp
There was no need to make this film. No need. It wasn’t awful; at times it was entertaining. And it’s always a pleasure to hear that wonderful John Williams score. But this will go down as worst Indy movie – it lacked that signature gentle wit; it was self-indulgent; it was forgettable (so much so I can’t even muster the energy to write a full-length review). And for goodness sake, please don’t make any more Steven!
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Mutt Williams: You know for an old man you ain't bad in a fight. What are you, like 80?
Monday, May 26, 2008
Sunday, May 18, 2008
I'm Not There
Cate Blanchett, Heath Ledger, Christian Bale, Ben Whishaw, Richard Gere, Marcus Carl Franklin, Bruce Greenwood, Charlotte Gainsbourg
Dir. Todd Haynes
Scr. Todd Haynes & Oren Moverman
I was desperate to see this film. It fascinated me – six actors (including a woman and a child) playing Bob Dylan, but none of them actually playing Bob Dylan. Critically acclaimed, I’m Not There is an interesting and highly quotable film. It is also frustrating, extremely self-aware and, at times, yawn-inducing. The problem with this ambitious movie is that director/writer Haynes is under the mistaken assumption that everyone knows as much about Dylan has he does. I don’t. I think you’d struggle to find one in twenty people who do. This doesn’t necessarily make I’m Not There a failure, but it certainly makes it an unusual trip to the cinema.
I’m not going to try and summarise the plot of this film. It’s probably the least linear American film I have ever seen. Basically, we follow six different characters and the people surrounding them, in different eras and cities, who all represent an aspect of Bob Dylan’s life. Some of the characters are made up – an actor, a couple of singers. Some of the characters have existed in real life – Arthur Rimbaud, for example, was a French poet in the late 19th century; Billy the Kid was a famous American outlaw. All help tell the story of Dylan’s life – his many personalities and incarnations. Does it work? Well, kind of. Some were spot-on and easily recognisable. Some were a bit of a stretch. And some just didn’t make sense – for example, unless you know that (a) Dylan wrote the music for a movie about Billy the Kid and (b) Dylan vanished from the public eye for a number of years, how on earth does an elderly, in-hiding Billy the Kid represent Dylan? It’s problematic.
What saved I’m Not There for me was a number of fantastic performances. The six “Dylans” were all great. Gere, as Billy the Kid, was nicely weathered and noble. Ledger, as an actor who played one of the other “Dylans” (a singer) in a film – confusing, sorry! – was both unlikeable and immensely human. (Special mention also to Charlotte Gainsbourg, who plays Ledger’s wife – beautiful and haunting). Marcus Carl Franklin, a young black kid who christened himself Woody Guthrie (one of Dylan’s heroes), was heart-breaking and a great singer. For me, however, the stand outs were the three actors who played the most recognisable incarnations of Dylan – Whishaw as Rimbaud (think Dylan, the poet), Bale as singer Jack Rollins (think early Dylan), and Blanchett as singer Jude Quinn (think post-acoustic Dylan). Whishaw and Bale were outstanding and, sadly, underutilised. Both tortured and profound, this is the Dylan most know. The show really does belong to Blanchett however, who’s “Dylan” we get to know the most. Just like Dylan lost many, many fans when he “abandoned” folk music and plugged in his guitar, Blanchett’s Jude Quinn is suffering from the heavy weight of public expectation and stereotyping. As Whishaw’s Rimbaud warns “never create anything …it will chain you and follow you for the rest of your life”. Blanchett is phenomenal in this role – she really becomes “Dylan”.
I’m not going to completely dismiss I’m Not There. If you’re a huge Dylan fan, definitely see it - I am certain I missed half the point of the film because of my lack of Dylan knowledge. If you’re not, well, maybe not. But once it hits DVD, I may in fact watch it again. This movie would benefit greatly from the fast-forward button. If I could just watch the bits I really, really liked (and there were several), I would be a very happy camper.
------------------------------------------
Arthur Rimbaud: Seven simple rules of going into hiding: one, never trust a cop in a raincoat. Two, beware of enthusiasm and of love, both are temporary and quick to sway. Three, if asked if you care about the world's problems, look deep into the eyes of he who asks, he will never ask you again. Four, never give your real name. Five, if ever asked to look at yourself, don’t. Six, never do anything the person standing in front of you cannot understand. And finally seven, never create anything, it will be misinterpreted, it will chain you and follow you for the rest of your life.
Dir. Todd Haynes
Scr. Todd Haynes & Oren Moverman
I was desperate to see this film. It fascinated me – six actors (including a woman and a child) playing Bob Dylan, but none of them actually playing Bob Dylan. Critically acclaimed, I’m Not There is an interesting and highly quotable film. It is also frustrating, extremely self-aware and, at times, yawn-inducing. The problem with this ambitious movie is that director/writer Haynes is under the mistaken assumption that everyone knows as much about Dylan has he does. I don’t. I think you’d struggle to find one in twenty people who do. This doesn’t necessarily make I’m Not There a failure, but it certainly makes it an unusual trip to the cinema.
I’m not going to try and summarise the plot of this film. It’s probably the least linear American film I have ever seen. Basically, we follow six different characters and the people surrounding them, in different eras and cities, who all represent an aspect of Bob Dylan’s life. Some of the characters are made up – an actor, a couple of singers. Some of the characters have existed in real life – Arthur Rimbaud, for example, was a French poet in the late 19th century; Billy the Kid was a famous American outlaw. All help tell the story of Dylan’s life – his many personalities and incarnations. Does it work? Well, kind of. Some were spot-on and easily recognisable. Some were a bit of a stretch. And some just didn’t make sense – for example, unless you know that (a) Dylan wrote the music for a movie about Billy the Kid and (b) Dylan vanished from the public eye for a number of years, how on earth does an elderly, in-hiding Billy the Kid represent Dylan? It’s problematic.
What saved I’m Not There for me was a number of fantastic performances. The six “Dylans” were all great. Gere, as Billy the Kid, was nicely weathered and noble. Ledger, as an actor who played one of the other “Dylans” (a singer) in a film – confusing, sorry! – was both unlikeable and immensely human. (Special mention also to Charlotte Gainsbourg, who plays Ledger’s wife – beautiful and haunting). Marcus Carl Franklin, a young black kid who christened himself Woody Guthrie (one of Dylan’s heroes), was heart-breaking and a great singer. For me, however, the stand outs were the three actors who played the most recognisable incarnations of Dylan – Whishaw as Rimbaud (think Dylan, the poet), Bale as singer Jack Rollins (think early Dylan), and Blanchett as singer Jude Quinn (think post-acoustic Dylan). Whishaw and Bale were outstanding and, sadly, underutilised. Both tortured and profound, this is the Dylan most know. The show really does belong to Blanchett however, who’s “Dylan” we get to know the most. Just like Dylan lost many, many fans when he “abandoned” folk music and plugged in his guitar, Blanchett’s Jude Quinn is suffering from the heavy weight of public expectation and stereotyping. As Whishaw’s Rimbaud warns “never create anything …it will chain you and follow you for the rest of your life”. Blanchett is phenomenal in this role – she really becomes “Dylan”.
I’m not going to completely dismiss I’m Not There. If you’re a huge Dylan fan, definitely see it - I am certain I missed half the point of the film because of my lack of Dylan knowledge. If you’re not, well, maybe not. But once it hits DVD, I may in fact watch it again. This movie would benefit greatly from the fast-forward button. If I could just watch the bits I really, really liked (and there were several), I would be a very happy camper.
------------------------------------------
Arthur Rimbaud: Seven simple rules of going into hiding: one, never trust a cop in a raincoat. Two, beware of enthusiasm and of love, both are temporary and quick to sway. Three, if asked if you care about the world's problems, look deep into the eyes of he who asks, he will never ask you again. Four, never give your real name. Five, if ever asked to look at yourself, don’t. Six, never do anything the person standing in front of you cannot understand. And finally seven, never create anything, it will be misinterpreted, it will chain you and follow you for the rest of your life.
Sunday, May 11, 2008
Iron Man
Robert Downey Jr., Jeff Bridges, Terrence Howard, Gwyneth Paltrow, Shaun Toub, Faran Tahir
Dir. Jon Favreau
Scr. Mark Fergus, Hawk Ostby, Art Marcum & Matt Holloway (based on
Marvel characters)
As soon as AC/DC’s Back in Black assaulted my ears in the opening scene and Robert Downey Jr. eased into the snappy dialogue, I knew I was going to enjoy Iron Man. Sure, it requires you to suspend disbelief in a huge way. And, sure, it’s pretty darn violent. And, yeah okay, it’s not the most thought-provoking movie out there. But if you’re looking for laughs and sheer crash-bang-explosive entertainment, Iron Man is the film for you. As long as Downey Jr. is on board, I cannot wait for Iron Man 2.
Iron Man tells the story of Tony Stark, the head of multi-million dollar weapons producer Stark Industries. Stark is an engineering genius, with a weakness for women and scotch. The ultimate playboy, Stark is comfortable in the knowledge his weapons kill bad guys. When Stark is kidnapped in Afghanistan, he realises his weapons have fallen into some seriously dodgy hands and he is forced to build his newest, most destructive weapon for the enemy. Instead, Stark creates what will become his alter-ago – Iron Man.
Iron Man, both the superhero and the movie, looks astonishingly cool. This film is a gadget paradise and Stark’s home is packed with all the useful and unlikely technology I assume fills Bill Gates’s house. There are enough explosions to keep the most highly attention-deficit 12-year-old boy engaged. The special effects come pretty thick and fast, but in the high-tech world of Tony Stark and his creations, they don’t appear out of place or beyond belief.
By far the most engaging aspect of Iron Man is the dialogue and acting. And, specifically, Robert Downey Jr. Downey Jr. is, in my opinion, one of the finest actors of his generation and I’m extremely pleased to see him back in the saddle. 2005’s Kiss Kiss Bang Bang was a treat. And in Iron Man, Downey Jr. doesn’t disappoint. He is immensely likeable (in a “loveable rogue” sort of way), extremely sharp and looking every inch the superhero. Downey Jr. had a large part to play in the writing process and it shows – earlier drafts of the script were reportedly lacking in the humour that Downey Jr. brought to the project. And thank goodness! A major problem with superhero movies is the holier-than-thou attitude – I’m sorry, I’d rather stick needles in my eyes than spend a day with Superman. Boring! Stark is not Mr Do-Right. In fact, quite the opposite. He is spurred into action only when faced with the very real and close up repercussions of his life’s work. And, even then, he kills when necessary and likes to blow things up. Downey Jr.’s Iron Man is much like Batman, but with a sense of humour. And this humour, much of it ad-libbed by Downey Jr., is what sets Iron Man apart.
Downey Jr. is supported by some really great acting. It’s refreshing to see Jeff Bridges (who plays Stark’s business partner Obadiah Stane) be a true bad guy. We’re so used to seeing Bridges play the “everyman” role. He’s clearly having fun in Iron Man and he’s a hoot. Terrence Howard (as Stark’s long time friend and top military contact Jim Rhodes) is excellent. And Gwyneth (as Stark’s assistant Pepper Potts) is, well, not objectionable. And that’s all I really ask of Gwyneth.
I thoroughly enjoyed Iron Man. It won’t be everyone’s cup of tea – you know who you are, you snobby action-film haters … But its well worth the price of admission – you’ll be entertained, I promise.
-------------------------------------
Tony Stark: Is it better to be feared or respected? I say, is it too much to ask for both?
Dir. Jon Favreau
Scr. Mark Fergus, Hawk Ostby, Art Marcum & Matt Holloway (based on
Marvel characters)
As soon as AC/DC’s Back in Black assaulted my ears in the opening scene and Robert Downey Jr. eased into the snappy dialogue, I knew I was going to enjoy Iron Man. Sure, it requires you to suspend disbelief in a huge way. And, sure, it’s pretty darn violent. And, yeah okay, it’s not the most thought-provoking movie out there. But if you’re looking for laughs and sheer crash-bang-explosive entertainment, Iron Man is the film for you. As long as Downey Jr. is on board, I cannot wait for Iron Man 2.
Iron Man tells the story of Tony Stark, the head of multi-million dollar weapons producer Stark Industries. Stark is an engineering genius, with a weakness for women and scotch. The ultimate playboy, Stark is comfortable in the knowledge his weapons kill bad guys. When Stark is kidnapped in Afghanistan, he realises his weapons have fallen into some seriously dodgy hands and he is forced to build his newest, most destructive weapon for the enemy. Instead, Stark creates what will become his alter-ago – Iron Man.
Iron Man, both the superhero and the movie, looks astonishingly cool. This film is a gadget paradise and Stark’s home is packed with all the useful and unlikely technology I assume fills Bill Gates’s house. There are enough explosions to keep the most highly attention-deficit 12-year-old boy engaged. The special effects come pretty thick and fast, but in the high-tech world of Tony Stark and his creations, they don’t appear out of place or beyond belief.
By far the most engaging aspect of Iron Man is the dialogue and acting. And, specifically, Robert Downey Jr. Downey Jr. is, in my opinion, one of the finest actors of his generation and I’m extremely pleased to see him back in the saddle. 2005’s Kiss Kiss Bang Bang was a treat. And in Iron Man, Downey Jr. doesn’t disappoint. He is immensely likeable (in a “loveable rogue” sort of way), extremely sharp and looking every inch the superhero. Downey Jr. had a large part to play in the writing process and it shows – earlier drafts of the script were reportedly lacking in the humour that Downey Jr. brought to the project. And thank goodness! A major problem with superhero movies is the holier-than-thou attitude – I’m sorry, I’d rather stick needles in my eyes than spend a day with Superman. Boring! Stark is not Mr Do-Right. In fact, quite the opposite. He is spurred into action only when faced with the very real and close up repercussions of his life’s work. And, even then, he kills when necessary and likes to blow things up. Downey Jr.’s Iron Man is much like Batman, but with a sense of humour. And this humour, much of it ad-libbed by Downey Jr., is what sets Iron Man apart.
Downey Jr. is supported by some really great acting. It’s refreshing to see Jeff Bridges (who plays Stark’s business partner Obadiah Stane) be a true bad guy. We’re so used to seeing Bridges play the “everyman” role. He’s clearly having fun in Iron Man and he’s a hoot. Terrence Howard (as Stark’s long time friend and top military contact Jim Rhodes) is excellent. And Gwyneth (as Stark’s assistant Pepper Potts) is, well, not objectionable. And that’s all I really ask of Gwyneth.
I thoroughly enjoyed Iron Man. It won’t be everyone’s cup of tea – you know who you are, you snobby action-film haters … But its well worth the price of admission – you’ll be entertained, I promise.
-------------------------------------
Tony Stark: Is it better to be feared or respected? I say, is it too much to ask for both?
27 Dresses
Katherine Heigl, James Marsden, Edward Burns, Malin Akerman
Dir. Anne Fletcher
Scr. Aline Brosh McKenna
If there was a Movie God, who righted movie wrongs, I would get these 107 minutes of my life back. Alas, no such deity exists.
‘Nuff said.
----------------------------------
Jane's Aunt: Must be so hard to watch your younger sister get married before you.
Jane: Yes. Then I remember that I still get to have hot hate sex with random strangers and I feel SO much better!
Dir. Anne Fletcher
Scr. Aline Brosh McKenna
If there was a Movie God, who righted movie wrongs, I would get these 107 minutes of my life back. Alas, no such deity exists.
‘Nuff said.
----------------------------------
Jane's Aunt: Must be so hard to watch your younger sister get married before you.
Jane: Yes. Then I remember that I still get to have hot hate sex with random strangers and I feel SO much better!
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