James Franco, Kate Mara, Amber Tamblyn
Dir. Danny Boyle
Scr. Danny Boyle & Simon Beaufoy (based on “Between a Rock & a Hard Place” by Aron Ralston)
This movie is less a film about some guy who got trapped, and more an experience. And a gut-wrenching one at that. James Franco does a stellar job in carrying this film and Danny Boyle truly takes us on an emotional and often uncomfortable journey. This is daring film-making at its best.
127 Hours dramatises the true life story of Aron Ralston (Franco), a gung-ho adventurer who, while canyoneering in Utah, becomes trapped by a falling rock. Pinned by his right arm, Aron uses all his boy-scout powers to try and free himself, spending a total of 127 hours with very little water or food and unsure of whether he will survive. Through hallucinations, flash-backs and recordings Aron makes on his trusty camcorder, we get a picture of a man and his life and his regrets. In the end, he does what you might think impossible – breaks and cuts his own arm off in order to get free.
I cannot begin to imagine what Aron’s real life experience was actually like, but the real Ralston was heavily involved in this production and has said that the film was so factually accurate that it’s as close to a documentary as you can get and still be a drama. It’s reassuring that Boyle and co have not taken too many liberties. And testament to Ralston’s actual experience that this film keeps you riveted for the entire journey. Basically, after all, we’re watching a man stuck in a cave. And, for me, this is in no small part due to Franco’s performance, which is truly deserving of his Oscar nomination. Franco has always struck me as a bit of a lightweight, good at stoner dude roles. And because he is unassuming in this way, his performance really does take you by surprise. Which is just as well – without a strong lead, this film would have been simply unwatchable.
As it is, there were five minutes that, for me, were truly unwatchable. That particular five minutes (which in reality must have taken much longer), when Ralston breaks his arm, twice, and then basically saws through it with a very blunt and ineffective multi-tool blade, was truly gruesome. This has turned many cinema-goers off. Which is fair enough. But Boyle could not shy away from this scene. It signifies the lengths Ralston is prepared to go in order to live. And when Ralston finally pulls away from that rock, what we feel is not repulsion or shock or pity, it’s overwhelmingly a feeling of relief and joy.
Boyle’s direction is intimate and claustrophobic and expansive, all at once. It’s frantic and exuberant and poignant. He cleverly uses music and images of crowds of people to set us up for what is a lonely, silent tale. I’m thankful this film was in his hands – there are few that would handle it as well as he did. In fact, there are few that would take it on in the first place.
This is not a film for the faint-hearted. You know who you are – usually I am one of you! But, if you can, see this film. It’s about the triumph of the human spirit and, in these tough times (particularly in my part of the world), what better subject matter is there?
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Aron: Hey there, Aron! Is it true that you didn't tell anyone where you were going?
Sunday, February 27, 2011
Friday, February 18, 2011
Unknown
Liam Neeson, Diane Kruger, January Jones, Aidan Quinn, Bruno Ganz, Sebastian Koch
Dir. Jaume Collet-Serra
Scr. Oliver Butcher & Stephen Cornwall
It’s not the most thrilling thriller you’ll ever see, and you’ll probably latch on to the surprises before you’re supposed to, but Unknown is an enjoyable and sporadically interesting thriller with some strong performances by a fine cast. This, coupled with the excellent 2008 film Taken, are exactly the roles that suit the now greying Liam Neeson.
Unknown is about stolen identity and finding out who you really are, whether you like it or not. Dr Martin Harris (Neeson) travels to Berlin with his wife Liz (Jones) to speak at a biotechnology conference. After a taxi ride goes horribly wrong, Harris awakes from a coma with only pieces of his memory in tact. But he knows who he is, or does he? His wife doesn’t recognise him and another man (Quinn) appears to be the “real” Martin Harris. Harris enlists the help of his taxi driver Gina (Kruger) and an ex-Stasi policeman turned private detective Jurgen (Ganz) to discover the truth behind what quickly appears to be a dangerous cover-up. Things are not what they appear to be .... and that’s all I will say.
There are enough holes in Unknown’s plot to bug many, but when it’s good, it’s really quite good. The story revolves around biotechnology research, which adds a dimension of intrigue and keeps you guessing. There are enough fight scenes and satisfying explosions to keep the action movie lover happy. And there’s a car chase that is one of the best I have seen in quite some time. The twist in the tail of Unknown really is quite preposterous, but I didn’t care too much. It was the ride I enjoyed and it was a wild one.
The greatest saving grace for this film is its cast. Neeson is mildly wooden but a wonderful hard man when he warms up to it. We saw this in Taken and he continues in this punchy vein. Jones is a tad annoying in her role as Mrs Dr Harris, but not distractingly so. Quinn is quite two-dimensional, as usual. The real stars here are those from the Continent. Kruger is brilliant as the illegal alien taxi driver who is thrown into the mess and drama against her will but for her own survival. Tough and sexy, it’s hard to take your eyes off her. Ganz, known to most of us from his phenomenal portrayal of Hitler in Downfall, is an absolute treat to watch as an ageing old school hard man with dignity in spades. Koch, as the brilliant and altruistic Professor Bressler, is a welcome addition to this cast in his small but vital role. The other cast member is the city of Berlin itself which, of course, is both murky and stunning.
While Unknown is not going to win any awards or test the brain cells too much, it is a perfect Friday night flick for those of us who like a bit of thrilling action in our cinematic diet. Utterly watchable.
---------------------------------
Dr Martin Harris: Do you know what it feels like to become insane? It’s a war between being told who you are and knowing who you are. Which do you think wins?
Dir. Jaume Collet-Serra
Scr. Oliver Butcher & Stephen Cornwall
It’s not the most thrilling thriller you’ll ever see, and you’ll probably latch on to the surprises before you’re supposed to, but Unknown is an enjoyable and sporadically interesting thriller with some strong performances by a fine cast. This, coupled with the excellent 2008 film Taken, are exactly the roles that suit the now greying Liam Neeson.
Unknown is about stolen identity and finding out who you really are, whether you like it or not. Dr Martin Harris (Neeson) travels to Berlin with his wife Liz (Jones) to speak at a biotechnology conference. After a taxi ride goes horribly wrong, Harris awakes from a coma with only pieces of his memory in tact. But he knows who he is, or does he? His wife doesn’t recognise him and another man (Quinn) appears to be the “real” Martin Harris. Harris enlists the help of his taxi driver Gina (Kruger) and an ex-Stasi policeman turned private detective Jurgen (Ganz) to discover the truth behind what quickly appears to be a dangerous cover-up. Things are not what they appear to be .... and that’s all I will say.
There are enough holes in Unknown’s plot to bug many, but when it’s good, it’s really quite good. The story revolves around biotechnology research, which adds a dimension of intrigue and keeps you guessing. There are enough fight scenes and satisfying explosions to keep the action movie lover happy. And there’s a car chase that is one of the best I have seen in quite some time. The twist in the tail of Unknown really is quite preposterous, but I didn’t care too much. It was the ride I enjoyed and it was a wild one.
The greatest saving grace for this film is its cast. Neeson is mildly wooden but a wonderful hard man when he warms up to it. We saw this in Taken and he continues in this punchy vein. Jones is a tad annoying in her role as Mrs Dr Harris, but not distractingly so. Quinn is quite two-dimensional, as usual. The real stars here are those from the Continent. Kruger is brilliant as the illegal alien taxi driver who is thrown into the mess and drama against her will but for her own survival. Tough and sexy, it’s hard to take your eyes off her. Ganz, known to most of us from his phenomenal portrayal of Hitler in Downfall, is an absolute treat to watch as an ageing old school hard man with dignity in spades. Koch, as the brilliant and altruistic Professor Bressler, is a welcome addition to this cast in his small but vital role. The other cast member is the city of Berlin itself which, of course, is both murky and stunning.
While Unknown is not going to win any awards or test the brain cells too much, it is a perfect Friday night flick for those of us who like a bit of thrilling action in our cinematic diet. Utterly watchable.
---------------------------------
Dr Martin Harris: Do you know what it feels like to become insane? It’s a war between being told who you are and knowing who you are. Which do you think wins?
Sunday, February 6, 2011
True Grit
Jeff Bridges, Matt Damon, Hailee Steinfeld, Barry Pepper, Josh Brolin
Dir. Ethan & Joel Coen
Scr. Ethan & Joel Coen (based on the novel by Charles Portis)
I must start with a disclaimer: I have not yet met a Coen Brothers’ movie I have not liked. And more than a couple would appear in my all-time favourite movies list. So I am aware that reviewing a movie by Joel and Ethan is like trying to find flaws in a beloved puppy. Or somesuch analogy. It will be no surprise then that I loved True Grit. This is a wonderfully acted, character-driven, chuckle-inducing film which I would heartily recommend. Is it their greatest work? No, I don’t believe so. Does it deserve a spot among the ten films nominated for the ultimate Oscar prize? Most definitely.
True Grit, based on the novel of the same name published in the 1960s, follows 14-year-old Mattie Ross’s (Steinfeld) quest to find her father’s killer, Tom Chaney (Brolin), and bring him to justice. She enlists the help of US Marshall Reuben “Rooster” Cogburn (Bridges), a man she is told has “true grit”. Along for the ride is Texas Ranger LaBoeuf (Damon) who has been tracking Chaney and has substantial financial gains to be made by bringing him to justice for killing a senator in Texas. This incredibly unlikely, and at times unlikeable, trio discover an array of characters and challenges along the way as each confronts and tests their own “grit”.
True Grit is one of the Coen Brothers’ most accessible films and will delight many more cinema-goers than the likes of Fargo or No Country for Old Men. Like No Country, True Grit creeps up on you and entices you in with colourful turns of phrase, beautiful scenery and actors who clearly relish their roles. The sense of impending doom and menace is not as pronounced and palpable as No Country, but it’s certainly there. We know that this isn’t going to end well for everyone and we hope that the bad guys get their comeuppance and the good guys survive. But this is no Disney western. The line between good and bad is murky. We first see Cogburn on the witness stand defending his actions as a lawman. Cogburn drinks too much, sleeps too long and is a true rogue. LaBoeuf is no angel either, far too pleased with himself and his abilities. But, in true Coen Brothers’ movie fashion, we know without a doubt that these are the men we should be rooting for. It is the character of Mattie though that really binds this story. Stubborn and pious, Mattie is nonetheless a realist. When the sheriff gives up on ensuring her fathers’ killer is caught and punished, she sees in these men the means to avenge her father. She is the true hero of this film.
I cannot heap enough praise on the stellar performances in this film and, for me, the combined brilliance of Bridges, Damon & Steinfeld is absolutely the best thing about True Grit. Bridges is at a time in his career where these sort of grizzly, weathered roles are perfect. He drawls his way through his performance with aplomb and seeing him in full flight on his horse up against four outlaws is an absolute sight to behold. It’s no secret I simply love Bridges and this film has only strengthened that adoration. Damon is a wonderful surprise in this film. His performances as Jason Bourne have cemented him as a real go-to action star. But Damon shows here, as he did in The Informant, that he has real range and a natural flair for humour. Much of the humour comes from the Ranger’s interaction with Cogburn and a standout scene has to be Mattie & LaBoeuf’s first encounter: “You give out very little sugar with your pronouncements. While I sat there watchin' I gave some thought to stealin' a kiss... though you are very young, and sick... and unattractive to boot. But now I have a mind to give you five or six good licks with my belt.” Wonderful stuff. There are also great contributions from Brolin and an almost unrecognisable Pepper. But among all these gritty, dirty, largely unpleasant male characters is Steinfeld, an absolute revelation as Mattie Ross. She is a true scene stealer which, in this company, is no mean feat. At turns naïve and cunning, childlike and world-wise, fearful and full of grit, Steinfeld’s performance is utterly worthy of the brilliant company she finds herself in in the supporting actress stakes at the Oscars.
True Grit may lack the quirkiness you might have come to expect from Joel and Ethan Coen. There is a story-telling and visual clumsiness at the beginning and near the end that grated a little. And while you may wish to take your 14-year-old to this film, you probably shouldn’t. But these are minor quibbles. True Grit is a great yarn, told with the most wonderfully colourful language you will come across at the cinema this year.
------------------------------
Mattie Ross: You must pay for everything in this world, one way and another. There is nothing free except the grace of God.
Dir. Ethan & Joel Coen
Scr. Ethan & Joel Coen (based on the novel by Charles Portis)
I must start with a disclaimer: I have not yet met a Coen Brothers’ movie I have not liked. And more than a couple would appear in my all-time favourite movies list. So I am aware that reviewing a movie by Joel and Ethan is like trying to find flaws in a beloved puppy. Or somesuch analogy. It will be no surprise then that I loved True Grit. This is a wonderfully acted, character-driven, chuckle-inducing film which I would heartily recommend. Is it their greatest work? No, I don’t believe so. Does it deserve a spot among the ten films nominated for the ultimate Oscar prize? Most definitely.
True Grit, based on the novel of the same name published in the 1960s, follows 14-year-old Mattie Ross’s (Steinfeld) quest to find her father’s killer, Tom Chaney (Brolin), and bring him to justice. She enlists the help of US Marshall Reuben “Rooster” Cogburn (Bridges), a man she is told has “true grit”. Along for the ride is Texas Ranger LaBoeuf (Damon) who has been tracking Chaney and has substantial financial gains to be made by bringing him to justice for killing a senator in Texas. This incredibly unlikely, and at times unlikeable, trio discover an array of characters and challenges along the way as each confronts and tests their own “grit”.
True Grit is one of the Coen Brothers’ most accessible films and will delight many more cinema-goers than the likes of Fargo or No Country for Old Men. Like No Country, True Grit creeps up on you and entices you in with colourful turns of phrase, beautiful scenery and actors who clearly relish their roles. The sense of impending doom and menace is not as pronounced and palpable as No Country, but it’s certainly there. We know that this isn’t going to end well for everyone and we hope that the bad guys get their comeuppance and the good guys survive. But this is no Disney western. The line between good and bad is murky. We first see Cogburn on the witness stand defending his actions as a lawman. Cogburn drinks too much, sleeps too long and is a true rogue. LaBoeuf is no angel either, far too pleased with himself and his abilities. But, in true Coen Brothers’ movie fashion, we know without a doubt that these are the men we should be rooting for. It is the character of Mattie though that really binds this story. Stubborn and pious, Mattie is nonetheless a realist. When the sheriff gives up on ensuring her fathers’ killer is caught and punished, she sees in these men the means to avenge her father. She is the true hero of this film.
I cannot heap enough praise on the stellar performances in this film and, for me, the combined brilliance of Bridges, Damon & Steinfeld is absolutely the best thing about True Grit. Bridges is at a time in his career where these sort of grizzly, weathered roles are perfect. He drawls his way through his performance with aplomb and seeing him in full flight on his horse up against four outlaws is an absolute sight to behold. It’s no secret I simply love Bridges and this film has only strengthened that adoration. Damon is a wonderful surprise in this film. His performances as Jason Bourne have cemented him as a real go-to action star. But Damon shows here, as he did in The Informant, that he has real range and a natural flair for humour. Much of the humour comes from the Ranger’s interaction with Cogburn and a standout scene has to be Mattie & LaBoeuf’s first encounter: “You give out very little sugar with your pronouncements. While I sat there watchin' I gave some thought to stealin' a kiss... though you are very young, and sick... and unattractive to boot. But now I have a mind to give you five or six good licks with my belt.” Wonderful stuff. There are also great contributions from Brolin and an almost unrecognisable Pepper. But among all these gritty, dirty, largely unpleasant male characters is Steinfeld, an absolute revelation as Mattie Ross. She is a true scene stealer which, in this company, is no mean feat. At turns naïve and cunning, childlike and world-wise, fearful and full of grit, Steinfeld’s performance is utterly worthy of the brilliant company she finds herself in in the supporting actress stakes at the Oscars.
True Grit may lack the quirkiness you might have come to expect from Joel and Ethan Coen. There is a story-telling and visual clumsiness at the beginning and near the end that grated a little. And while you may wish to take your 14-year-old to this film, you probably shouldn’t. But these are minor quibbles. True Grit is a great yarn, told with the most wonderfully colourful language you will come across at the cinema this year.
------------------------------
Mattie Ross: You must pay for everything in this world, one way and another. There is nothing free except the grace of God.
Saturday, February 5, 2011
Inside Job
Matt Damon (narrator)
Dir. Charles Ferguson
Wr. Charles Ferguson, Chad Beck & Adam Bolt
I needed to see this film. I’m not saying it’s the definitive truth behind the global financial crisis of 2008 – I think all documentaries come with a bias. But I really understand very little about the jargon-filled economic world. Charles Ferguson in this compelling doco has done a service to the likes of me and I thank him for it. If you want to better understand what actually happened to the US in 2008, see this film. If you already know, well, good on you smarty-pants.
In this film Ferguson examines the reasons why the recession of 2008, which has cost the world an estimated $20 trillion, happened, who was accountable and whether it will happen again. Explaining the financial sector with the use of diagrams and Matt Damon’s lilting tones, Ferguson speaks to us as laymans without making us feel stupid. It’s a fine line and, personally, I think he walks it well.
The most revealing and interesting aspect of this film are the extensive interviews Ferguson conducts with a range of financial insiders, academics, journalists and politicians. Unlike his fellow documentary filmmaker Michael Moore, Ferguson does not insert himself into the equation, never appearing on screen, which is highly effective and somewhat refreshing. Many people declined to be interviewed for this film (mostly those still inside the machine of the financial sector), but Ferguson has a fascinating array of interviewees, including the Finance Minister of France and the Prime Minister of Singapore, the former especially shedding an important non-American perspective on what ultimately affected the globe.
One of the most fascinating aspects of Ferguson’s analysis is his look at the role and responsibility of academia who are clearly not used to be asked to “please explain”. I have never seen an esteemed academic on film turn so quickly into an evil villain. A great cinematic moment in any genre.
Although frustrating, disheartening and frightening, Inside Job is a great film that will make you smarter. It will also make you want to hide all your money under your mattress.
---------------------------------
Christine Lagarde (French Finance Minister): Holy cow!
Dir. Charles Ferguson
Wr. Charles Ferguson, Chad Beck & Adam Bolt
I needed to see this film. I’m not saying it’s the definitive truth behind the global financial crisis of 2008 – I think all documentaries come with a bias. But I really understand very little about the jargon-filled economic world. Charles Ferguson in this compelling doco has done a service to the likes of me and I thank him for it. If you want to better understand what actually happened to the US in 2008, see this film. If you already know, well, good on you smarty-pants.
In this film Ferguson examines the reasons why the recession of 2008, which has cost the world an estimated $20 trillion, happened, who was accountable and whether it will happen again. Explaining the financial sector with the use of diagrams and Matt Damon’s lilting tones, Ferguson speaks to us as laymans without making us feel stupid. It’s a fine line and, personally, I think he walks it well.
The most revealing and interesting aspect of this film are the extensive interviews Ferguson conducts with a range of financial insiders, academics, journalists and politicians. Unlike his fellow documentary filmmaker Michael Moore, Ferguson does not insert himself into the equation, never appearing on screen, which is highly effective and somewhat refreshing. Many people declined to be interviewed for this film (mostly those still inside the machine of the financial sector), but Ferguson has a fascinating array of interviewees, including the Finance Minister of France and the Prime Minister of Singapore, the former especially shedding an important non-American perspective on what ultimately affected the globe.
One of the most fascinating aspects of Ferguson’s analysis is his look at the role and responsibility of academia who are clearly not used to be asked to “please explain”. I have never seen an esteemed academic on film turn so quickly into an evil villain. A great cinematic moment in any genre.
Although frustrating, disheartening and frightening, Inside Job is a great film that will make you smarter. It will also make you want to hide all your money under your mattress.
---------------------------------
Christine Lagarde (French Finance Minister): Holy cow!
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