Chris Evans, Hugo Weaving, Hayley Atwell, Tommy Lee Jones, Dominic Cooper, Stanley Tucci, Toby Jones
Dir. Joe Johnston
Scr. Christopher Markus & Stephen McFeely (based on the Marvel comic books)
You’ll be forgiven for thinking comic books are taking over the world of cinema. Largely, this trend has had some very fine consequences (X Men, recent Batman, Iron Man). And sometimes, the result has been mixed, even downright awful (Green Lantern, early Hulk). Captain America can be placed squarely in the first category – fun and visually exciting, utterly retro, staying true to its comic book sensibility. I had a ball watching this movie.
Set in 1942, when the US has entered WWII, a very determined but highly unsuitable Steve Rogers (Evans) tries and fails repeatedly to enlist. He’s too short, too sickly and has no hope of doing his duty in the army. Noticed by scientist Erskine (Tucci), Rogers proves his courage and worth and is chosen as the subject for an experiment in which his body is transformed to fulfil its ultimate human potential. He becomes super soldier, Captain America. Much to his disappointment, the powers-that-be use him largely as a marketing tool, raising much needed funds for the war effort. It’s not long, however, before he gets to see real action and with a team of men, he is tasked with bringing down Hydra, the German research department headed by Johann Schmidt (Weaving) who is hell-bent on, you guessed it, world domination. Cue fight scenes, many explosions, some cheesy and very funny dialogue, a smattering of romance, and you’ve got yourself a very entertaining couple of hours.
What makes Captain America work is not its script (we’ve witnessed this scenario countless times before) or its cast (although, there are many worth watching here), but its innocence – the time is captured so well and the story never loses its core premise of rooting for the enthusiastic little guy with a heart of gold. Also, the effects here are top-notch. Even though I had a hard time reconciling Evans’ head with pre-Captain American Steve Rogers. A little creepy.
The cast on offer in Captain America is extremely good and, with the exception of the token female, I would have a hard finding fault with any of them. While I wouldn’t rush to see him in anything else, Evans is clearly born to play this role. He captures the innocence of Rogers brilliantly and has the perfect all-American look. Weaving is stellar, again relishing the bad guy role. Jones, as hardass Colonel Chester Phillips, is wonderful, with some of the funniest lines in the film. Tucci, as always, is a joy to watch. And Cooper plays a very convincing father to Iron Man’s Downey Jnr, as Howard Stark. The weak link for me is Atwell, as love interest Peggy Carter. I found her wooden and slightly annoying.
While some will miss the angst and brooding we have come to associate with many superheroes, I have to say that Captain America is an extremely good addition to the genre. If you’re a fan of these sorts of films, you should definitely see it. If you’re not, well, why not chance your arm and give it a go? I guarantee you’ll have fun.
And for the love of all things cinematically holy, do not leave before the end of the credits. You’ll miss an awesome little treat.
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Dr Abraham Erskine: The serum amplifies the inner qualities of its taker, as well as their physical attributes. Good becomes great... bad becomes worse.
Saturday, August 20, 2011
Thursday, August 18, 2011
Rise of the Planet of the Apes
James Franco, Andy Serkis, John Lithgow, Freida Pinto, Brian Cox, Tom Felton, David Oyelowo
Dir. Rupert Wyatt
Scr. Rick Jaffa & Amanda Silver
Sometimes I weep for the sheer unoriginality of the Hollywood machine. This film, for instance – a reboot of a film that’s already been rebooted (see Tim Burton’s 2001 version of the 1960s original, earning and deserving a dire 45% on Rotten Tomatoes). But just when you’re crying over the pages of the latest copy of your favourite movie mag, Hollywood proves it can still surprise you. This prequel is an emotional rollercoaster, showcasing some of the most stunning motion capture CGI you will ever see and shows that, with a good script and a clear vision, life can be breathed into a franchise that seemed long dead.
While working on a cure for Alzheimer's disease, Will Rodman (Franco) is forced to adopt and care for a genetically-enhanced baby chimp, Caesar (Serkis, via motion capture). This act of compassion (to prevent the baby being killed along with his mother and other experimented-upon chimps), coupled with a generous helping of blind arrogance (attempting to contain an animal that shows such an extraordinary level of cognitive ability) leads to what can only be described as all hell breaking loose. If you’re familiar with the original movie, you know what happens next and it’s not good news for humanity. This film, a true prequel, stops short of spelling it out completely but gives the audience enough clues along the way.
While the original Planet of the Apes preached lessons about human culture, Rise seems to be a stark warning about the seemingly limitless power of science and the dangers of messing with Mother Nature. It’s a little hard to be truly sympathetic towards or concerned about the humans of the story though. With the exception of Rodman’s Alzheimer’s-afflicted father (Lithgow), there’s not really a human of great appeal. The guiding light of this story is Caesar – his emotional and intellectual journey of discovery. This is thanks in no small way to the work of Serkis and the team at Weta Digital; the former giving Caesar nuance and power and astonishing expressiveness, the latter giving this chapter of the Apes franchise something it has been sadly lacking – “real” apes.
The acting here is a bit of a mixed bag. For me, many of the human elements in this story were two-dimensional. But perhaps that was the whole point. Humans bad, apes good. Or something like that. Cox and Felton, as the father and son team who run the ape sanctuary Caesar finds himself imprisoned in, are downright nasty. As is Oyelowo’s Dr Jacobs, Rodman’s boss who is driven by dollar signs. And while Rodman is not so obviously a bad guy, he is arrogant and driven and doesn’t truly redeem himself until the finale. Good to see the beautiful Pinto (from Slumdog Millionaire), as Rodman’s veterinarian girlfriend, but she is underused in a story that doesn’t have a lot of room for human to human relationships. Lithgow, as always, is brilliant.
This is a well-paced, compelling, surprising film. There’s a pleasing balance between the drama and the action, with a strong enough script to ensure the two are convincingly bound together. In the end, Rise is memorable and entertaining – what more do you want from your blockbuster? Highly recommended.
----------------------
Dodge Landon: Take your stinking paws off me you damn dirty ape!
Dir. Rupert Wyatt
Scr. Rick Jaffa & Amanda Silver
Sometimes I weep for the sheer unoriginality of the Hollywood machine. This film, for instance – a reboot of a film that’s already been rebooted (see Tim Burton’s 2001 version of the 1960s original, earning and deserving a dire 45% on Rotten Tomatoes). But just when you’re crying over the pages of the latest copy of your favourite movie mag, Hollywood proves it can still surprise you. This prequel is an emotional rollercoaster, showcasing some of the most stunning motion capture CGI you will ever see and shows that, with a good script and a clear vision, life can be breathed into a franchise that seemed long dead.
While working on a cure for Alzheimer's disease, Will Rodman (Franco) is forced to adopt and care for a genetically-enhanced baby chimp, Caesar (Serkis, via motion capture). This act of compassion (to prevent the baby being killed along with his mother and other experimented-upon chimps), coupled with a generous helping of blind arrogance (attempting to contain an animal that shows such an extraordinary level of cognitive ability) leads to what can only be described as all hell breaking loose. If you’re familiar with the original movie, you know what happens next and it’s not good news for humanity. This film, a true prequel, stops short of spelling it out completely but gives the audience enough clues along the way.
While the original Planet of the Apes preached lessons about human culture, Rise seems to be a stark warning about the seemingly limitless power of science and the dangers of messing with Mother Nature. It’s a little hard to be truly sympathetic towards or concerned about the humans of the story though. With the exception of Rodman’s Alzheimer’s-afflicted father (Lithgow), there’s not really a human of great appeal. The guiding light of this story is Caesar – his emotional and intellectual journey of discovery. This is thanks in no small way to the work of Serkis and the team at Weta Digital; the former giving Caesar nuance and power and astonishing expressiveness, the latter giving this chapter of the Apes franchise something it has been sadly lacking – “real” apes.
The acting here is a bit of a mixed bag. For me, many of the human elements in this story were two-dimensional. But perhaps that was the whole point. Humans bad, apes good. Or something like that. Cox and Felton, as the father and son team who run the ape sanctuary Caesar finds himself imprisoned in, are downright nasty. As is Oyelowo’s Dr Jacobs, Rodman’s boss who is driven by dollar signs. And while Rodman is not so obviously a bad guy, he is arrogant and driven and doesn’t truly redeem himself until the finale. Good to see the beautiful Pinto (from Slumdog Millionaire), as Rodman’s veterinarian girlfriend, but she is underused in a story that doesn’t have a lot of room for human to human relationships. Lithgow, as always, is brilliant.
This is a well-paced, compelling, surprising film. There’s a pleasing balance between the drama and the action, with a strong enough script to ensure the two are convincingly bound together. In the end, Rise is memorable and entertaining – what more do you want from your blockbuster? Highly recommended.
----------------------
Dodge Landon: Take your stinking paws off me you damn dirty ape!
Sunday, August 14, 2011
Cowboys and Aliens
Daniel Craig, Harrison Ford, Olivia Wilde, Sam Rockwell, Adam Beach, Paul Dano, Keith Carradine
Dir. John Favreau
Scr. Roberto Orci, Alex Kurtzman, Damon Lindelof, Mark Fergus & Hawk Ostby
This movie isn’t quite what I expected it to be. Sure, there are cowboys. And aliens. And there’s a fair amount of action, with enough bells and whistles to keep the blockbuster crowd happy. What I didn’t count on was how serious it was all going to be. Or how many stories of emotional connectedness between characters I was going to have to keep track of. I certainly did enjoy this film, just not nearly as much as I would have liked to.
Based on a graphic novel of the same name, Cowboys and Aliens is set in the 1870s in the Wild West. A stranger with no memory (Craig) finds himself in Absolution, a struggling town ruled by ex-colonel Woodrow Dolarhyde (Ford). Wounded and wearing a strange shackle on his wrist, he discovers he is wanted man Jake Lonergan and is swiftly arrested. Before he is shipped off to meet his fate, the town is attacked by flying objects, which abduct townsfolk using blinding lights and out-of-this-world rope, including the town’s sheriff (Carradine) and Dolarhyde’s son Percy (Dano). Bringing an end to the attack with the help of his mysterious shackle, Lonergan becomes Absolution’s only hope. A posse, led by Dolarhyde and Lonergan, set off to find the abductees and put an end to the terror reigning down on them. So ensues some quite nifty action sequences, some quite naff plot and a whole lot of aliens.
If you think this is all a recipe for much parody and belly laughs, you’d be mistaken. Cowboys and Aliens is serious business. When the humour is injected, it’s a welcome relief from the grave faces and hard looks. Don’t get me wrong – there is a lot to whisper “woah” at. The opening scene when Lonergan takes on three would-be bounty hunters is very cool and more violent than many in the audience seemed ready for. In fact most of Lonergan’s fight scenes are pretty darn cool. The initial attack at Absolution is loud and bright and terrifying. If you’re in the mood, there is also quite a bit to get emotional over. But, sadly, I wasn’t really in the mood.
I can’t really fault the acting on display here. Both Craig and Ford are brilliant, although I was disappointed by their lack of screen time together. Wilde, as the mysterious woman who knows just a little too much, is wide-eyed and appealing. There are some stand out performances in supporting roles, notably Sam Rockwell (wonderful as always) and Paul Dano (fast becoming a favourite). The aliens themselves are as unoriginal as they come. And the reason they’re attacking Earth? Well, I scoffed. Until I remembered this, at heart, is a Western. I still scoffed, just with a little less malice.
If you want to see a truly wonderful juxtaposition of the Wild West and all things spacey, watch Firefly or Serenity. If you want a couple of mind-numbing hours at the cinema, by all means see Cowboys and Aliens. Just don’t expect many laughs. Well, not many intentional ones anyway.
-------------------------------
Jake Lonergan: Demons took your gold. When you get to Hell, you can ask for it back.
Dir. John Favreau
Scr. Roberto Orci, Alex Kurtzman, Damon Lindelof, Mark Fergus & Hawk Ostby
This movie isn’t quite what I expected it to be. Sure, there are cowboys. And aliens. And there’s a fair amount of action, with enough bells and whistles to keep the blockbuster crowd happy. What I didn’t count on was how serious it was all going to be. Or how many stories of emotional connectedness between characters I was going to have to keep track of. I certainly did enjoy this film, just not nearly as much as I would have liked to.
Based on a graphic novel of the same name, Cowboys and Aliens is set in the 1870s in the Wild West. A stranger with no memory (Craig) finds himself in Absolution, a struggling town ruled by ex-colonel Woodrow Dolarhyde (Ford). Wounded and wearing a strange shackle on his wrist, he discovers he is wanted man Jake Lonergan and is swiftly arrested. Before he is shipped off to meet his fate, the town is attacked by flying objects, which abduct townsfolk using blinding lights and out-of-this-world rope, including the town’s sheriff (Carradine) and Dolarhyde’s son Percy (Dano). Bringing an end to the attack with the help of his mysterious shackle, Lonergan becomes Absolution’s only hope. A posse, led by Dolarhyde and Lonergan, set off to find the abductees and put an end to the terror reigning down on them. So ensues some quite nifty action sequences, some quite naff plot and a whole lot of aliens.
If you think this is all a recipe for much parody and belly laughs, you’d be mistaken. Cowboys and Aliens is serious business. When the humour is injected, it’s a welcome relief from the grave faces and hard looks. Don’t get me wrong – there is a lot to whisper “woah” at. The opening scene when Lonergan takes on three would-be bounty hunters is very cool and more violent than many in the audience seemed ready for. In fact most of Lonergan’s fight scenes are pretty darn cool. The initial attack at Absolution is loud and bright and terrifying. If you’re in the mood, there is also quite a bit to get emotional over. But, sadly, I wasn’t really in the mood.
I can’t really fault the acting on display here. Both Craig and Ford are brilliant, although I was disappointed by their lack of screen time together. Wilde, as the mysterious woman who knows just a little too much, is wide-eyed and appealing. There are some stand out performances in supporting roles, notably Sam Rockwell (wonderful as always) and Paul Dano (fast becoming a favourite). The aliens themselves are as unoriginal as they come. And the reason they’re attacking Earth? Well, I scoffed. Until I remembered this, at heart, is a Western. I still scoffed, just with a little less malice.
If you want to see a truly wonderful juxtaposition of the Wild West and all things spacey, watch Firefly or Serenity. If you want a couple of mind-numbing hours at the cinema, by all means see Cowboys and Aliens. Just don’t expect many laughs. Well, not many intentional ones anyway.
-------------------------------
Jake Lonergan: Demons took your gold. When you get to Hell, you can ask for it back.
Saturday, August 13, 2011
Gantz & Gantz: Perfect Answer
Kazunari Ninomiya, Ken’ichi Matsuyama, Yuriko Yoshitaka, Tomorowo Taguchi
Dir. Shinsuke Sato
Scr. Hiroya Oku & Yusuke Watanabe
Based on the manga and anime of the same name, these two movies are quite something. This is action-packed, melodramatic science fiction at its best. The story is convoluted, the deaths are drawn out, the looks are meaningful and the action is awesome. I recommend seeing both these movies close together (they were released in Japan within a couple of months of each other): the second is a superior film to the first, but the first has a naivety and simplicity that is appealing.
After trying to rescue a man from the subway tracks and getting hit by a train, two estranged friends (Kato and Kurono) wake up in a room dominated by a huge black orb. There are others in the room, some as confused and disorientated as they are, some not. It turns out they did die and are now controlled by the black orb, Gantz. The purpose of their new lives is to hunt down and kill aliens hiding on Earth, with the help of the others in the room and some pretty nifty super-suits and weapons. At the end of each “turn”, they are awarded points and get to go back to their old lives, only to be again pulled into the room at anytime at the will of Gantz. If they die in the game, they die completely. There are incentives to Gantz’s crazy game – score 100 points, and you can free yourself from the game or resurrect another player who has died. Needless to say, people die and are brought back. Aliens are killed and their fellow aliens want revenge, trying to hunt Gantz down and put an end to his game. The first film consists of three turns and a whole lot of action. The second film delves more into the alien fight back and the ultimate showdown between Gantz, his players and the aliens.
Our two main protagonists are Kato (Matsuyama) and Kurono (Ninomiya), friends at school whose lives have taken them in very different directions. We learn Kato had spent some time in a youth prison, is devoted to his younger brother and works a menial job to look after him. Kurono is at university and struggles with a lack of confidence and identity. Both react very differently to the game Gantz throws at them. Kato, despite of his obvious criminal past (we later find out he committed his crime to protect his brother), has a high moral standard and doesn’t want to be fighting, trying to protect those around him and becoming a reluctant leader. Kurono, on the other hand, finds what has been lacking from his life in the game. His skills are innate and his physical prowess impressive. Somewhat selfish, everything changes for Kurono at the end of the first movie and, in the second, he becomes the leader and protector of the other players. There is a strong bond between Kato and Kurono – this friendship runs through both movies and is the heart of the story.
The acting here is hammy at times, highly emotional at others, and sometimes just terrible. There is a great cast of likeable young actors, but melodrama most definitely reigns supreme. It reminded me a little of Star Wars – we forgive much for a great, action-packed story we can emotionally connect to. And that is precisely what these two movies, taken together, provide. The action sequences, especially in the second film, are fast-paced and explosive. Brilliant stuff.
If you like a bit of sci-fi and love all things Japanese, definitely see this movie.
---------------------------------
Gantz: Your lives have ended. What you do with your new lives is entirely up to me.
Dir. Shinsuke Sato
Scr. Hiroya Oku & Yusuke Watanabe
Based on the manga and anime of the same name, these two movies are quite something. This is action-packed, melodramatic science fiction at its best. The story is convoluted, the deaths are drawn out, the looks are meaningful and the action is awesome. I recommend seeing both these movies close together (they were released in Japan within a couple of months of each other): the second is a superior film to the first, but the first has a naivety and simplicity that is appealing.
After trying to rescue a man from the subway tracks and getting hit by a train, two estranged friends (Kato and Kurono) wake up in a room dominated by a huge black orb. There are others in the room, some as confused and disorientated as they are, some not. It turns out they did die and are now controlled by the black orb, Gantz. The purpose of their new lives is to hunt down and kill aliens hiding on Earth, with the help of the others in the room and some pretty nifty super-suits and weapons. At the end of each “turn”, they are awarded points and get to go back to their old lives, only to be again pulled into the room at anytime at the will of Gantz. If they die in the game, they die completely. There are incentives to Gantz’s crazy game – score 100 points, and you can free yourself from the game or resurrect another player who has died. Needless to say, people die and are brought back. Aliens are killed and their fellow aliens want revenge, trying to hunt Gantz down and put an end to his game. The first film consists of three turns and a whole lot of action. The second film delves more into the alien fight back and the ultimate showdown between Gantz, his players and the aliens.
Our two main protagonists are Kato (Matsuyama) and Kurono (Ninomiya), friends at school whose lives have taken them in very different directions. We learn Kato had spent some time in a youth prison, is devoted to his younger brother and works a menial job to look after him. Kurono is at university and struggles with a lack of confidence and identity. Both react very differently to the game Gantz throws at them. Kato, despite of his obvious criminal past (we later find out he committed his crime to protect his brother), has a high moral standard and doesn’t want to be fighting, trying to protect those around him and becoming a reluctant leader. Kurono, on the other hand, finds what has been lacking from his life in the game. His skills are innate and his physical prowess impressive. Somewhat selfish, everything changes for Kurono at the end of the first movie and, in the second, he becomes the leader and protector of the other players. There is a strong bond between Kato and Kurono – this friendship runs through both movies and is the heart of the story.
The acting here is hammy at times, highly emotional at others, and sometimes just terrible. There is a great cast of likeable young actors, but melodrama most definitely reigns supreme. It reminded me a little of Star Wars – we forgive much for a great, action-packed story we can emotionally connect to. And that is precisely what these two movies, taken together, provide. The action sequences, especially in the second film, are fast-paced and explosive. Brilliant stuff.
If you like a bit of sci-fi and love all things Japanese, definitely see this movie.
---------------------------------
Gantz: Your lives have ended. What you do with your new lives is entirely up to me.
Saturday, August 6, 2011
The Guard
Brendan Gleeson, Don Cheadle, Mark Strong, Liam Cunningham, Fionnula Flanagan
Dir. John Michael McDonagh
Scr. John Michael McDonagh
The Guard is a f**king good movie. Full of the essential three C’s of entertaining film making – character, circumstance and cracker dialogue. While a little light on plot and a little heavy on caricature, you will forgive The Guard all its sins and short-comings because you will simply be laughing too hard to care.
Irish Garda Sergeant Gerry Boyle (Gleeson) is an unorthodox cop in a small coastal town outside of Galway, guided by his own rather interesting set of moral standards. When murder and drug smuggling descend on his sleepy town, he teams up with FBI agent Wendell Everett (Cheadle) to bring down a gang of ruthless and not-so-mildly psychotic bad guys. It may sound like a paint-by-numbers buddy cop thriller, but it’s anything but. Boyle is so much more than his old, gruff, racist façade lets on. Everett is not quite the stereotypical by-the-book American lawman that everyone assumes he is. The triumvirate of baddies are just a little more wacky that you’d expect. It’s darkly and profanely funny in the same way as the brilliant In Bruges, which is obviously a family trait (writer, director John is brother of In Bruges writer, director Martin).
The acting in The Guard is top-notch. Some of the characters are more expertly fleshed out than others, but they are all interesting and surprising in their own way. Gleeson is the absolute star of the show. Crass and confrontational he seems to be able to do in his sleep. But Boyle is so much more than this and Gleeson’s weathered, lived in face captures it all. The scene in the pub with his dying mum (Flanagan) is heart-breaking. And he is utterly and absolutely hilarious. Cheadle is wonderful as, it seems at times, the only sane man in the village. In the more comic moments, he more than holds his own. Mark Strong, as the leader of the baddies, is his usual brilliant self. The group of talent on display and the fantastic range of personalities in The Guard more than makes up for anything lacking in the plot department.
And while on that subject, sure, you need to suspend disbelief right from the get-go. On the flip-side of this, we’re not bogged down with back-stories and details and whatnot. The Guard is neatly paced, with engaging changes in mood and focus. In turn, noir and offbeat and poignant. And the dialogue is simply and utterly wonderful – hugely quotable, at times shockingly inappropriate, always funny.
If you liked In Bruges, you’ll like The Guard. And while the latter is probably not as accomplished as the former, Gleeson’s Boyle will surprise and delight. One word of warning: if you’re not a fan of the f-word, best you stay away.
--------------------------------
Sergeant Gerry Boyle: I’m Irish. Racism is part of my culture.
Dir. John Michael McDonagh
Scr. John Michael McDonagh
The Guard is a f**king good movie. Full of the essential three C’s of entertaining film making – character, circumstance and cracker dialogue. While a little light on plot and a little heavy on caricature, you will forgive The Guard all its sins and short-comings because you will simply be laughing too hard to care.
Irish Garda Sergeant Gerry Boyle (Gleeson) is an unorthodox cop in a small coastal town outside of Galway, guided by his own rather interesting set of moral standards. When murder and drug smuggling descend on his sleepy town, he teams up with FBI agent Wendell Everett (Cheadle) to bring down a gang of ruthless and not-so-mildly psychotic bad guys. It may sound like a paint-by-numbers buddy cop thriller, but it’s anything but. Boyle is so much more than his old, gruff, racist façade lets on. Everett is not quite the stereotypical by-the-book American lawman that everyone assumes he is. The triumvirate of baddies are just a little more wacky that you’d expect. It’s darkly and profanely funny in the same way as the brilliant In Bruges, which is obviously a family trait (writer, director John is brother of In Bruges writer, director Martin).
The acting in The Guard is top-notch. Some of the characters are more expertly fleshed out than others, but they are all interesting and surprising in their own way. Gleeson is the absolute star of the show. Crass and confrontational he seems to be able to do in his sleep. But Boyle is so much more than this and Gleeson’s weathered, lived in face captures it all. The scene in the pub with his dying mum (Flanagan) is heart-breaking. And he is utterly and absolutely hilarious. Cheadle is wonderful as, it seems at times, the only sane man in the village. In the more comic moments, he more than holds his own. Mark Strong, as the leader of the baddies, is his usual brilliant self. The group of talent on display and the fantastic range of personalities in The Guard more than makes up for anything lacking in the plot department.
And while on that subject, sure, you need to suspend disbelief right from the get-go. On the flip-side of this, we’re not bogged down with back-stories and details and whatnot. The Guard is neatly paced, with engaging changes in mood and focus. In turn, noir and offbeat and poignant. And the dialogue is simply and utterly wonderful – hugely quotable, at times shockingly inappropriate, always funny.
If you liked In Bruges, you’ll like The Guard. And while the latter is probably not as accomplished as the former, Gleeson’s Boyle will surprise and delight. One word of warning: if you’re not a fan of the f-word, best you stay away.
--------------------------------
Sergeant Gerry Boyle: I’m Irish. Racism is part of my culture.
Friday, August 5, 2011
The Trip
Steve Coogan, Rob Brydon, Claire Keelan
Dir. Michael Winterbottom
Two wonderful comics + a roadtrip through lovely wintery English countryside + some mouth-watering food + my favourite Abba song = the best couple of hours I’ve spent at the cinema in quite some time. This largely improvised movie is insightful, endlessly witty and, at times, laugh-out-loud-to-the-point-of-tears hilarious. Gloriously self-indulgent and often meandering, The Trip may annoy some. My advice would be to simply sit back and enjoy the ride.
Playing loose (how loose, I just don’t know) versions of themselves, The Trip follows Steve Coogan and Rob Brydon through a fancy restaurant tour of the Lake District and Yorkshire Dales. Coogan, working for the Observer, has been left high and dry by his American girlfriend (Keelan) and enlists Brydon as company for the trip. Somewhat reluctantly. As you’d expect from two comedic geniuses, there is a lot of trying to out-do eachother (most memorably in relation to who does the better Michael Caine). But there is also soul-searching, poetry-quoting, singing and, of course, a great deal of eating.
The success of this movie is largely thanks to the interaction between Coogan – grumpy, promiscuous, self-important, struggling to shred his Alan Partridge past and find that level of success again – and Brydon – a dedicated husband and father, satisfied with his career and notoriety, concerned for his friend’s obvious unhappiness. They really are chalk and cheese. Brydon’s constant impersonations drive Coogan to distraction, fuelled by a not-so-subtle jealousy at Brydon’s talent. Brydon acts his age and is a devoted family man, in sharp contrast to weed-smoking, playboy Coogan. And while Coogan seems displeased to have Brydon as his travelling companion, we know that Brydon is good for Coogan, questioning his lifestyle and priorities. And by the end, even Coogan admits he’s had a good time. As have we.
The humour here is very British. Some cultural references will be lost on many. If you don’t have a passing acquaintance with the works of Michael Caine, you may be in trouble. In fact, if you don’t know either Coogan or Brydon, you’re in bigger trouble. Here we have wit and intellect, which may not be everyone’s cup of tea. But if this sounds like a bit of you, you’ll be in movie heaven, much like I was. Look out for period movie skit in the car – absolute brilliance. And then we have the food – O.M.G. My mouth was watering. There were ooh, aahs and sighs from the audience at the sight and description of some of the dishes.
This movie was a delight. Enough said.
---------------------------------
Steve: I've, uh, asked other people but they're all too busy, so you know, do you wanna come?
Dir. Michael Winterbottom
Two wonderful comics + a roadtrip through lovely wintery English countryside + some mouth-watering food + my favourite Abba song = the best couple of hours I’ve spent at the cinema in quite some time. This largely improvised movie is insightful, endlessly witty and, at times, laugh-out-loud-to-the-point-of-tears hilarious. Gloriously self-indulgent and often meandering, The Trip may annoy some. My advice would be to simply sit back and enjoy the ride.
Playing loose (how loose, I just don’t know) versions of themselves, The Trip follows Steve Coogan and Rob Brydon through a fancy restaurant tour of the Lake District and Yorkshire Dales. Coogan, working for the Observer, has been left high and dry by his American girlfriend (Keelan) and enlists Brydon as company for the trip. Somewhat reluctantly. As you’d expect from two comedic geniuses, there is a lot of trying to out-do eachother (most memorably in relation to who does the better Michael Caine). But there is also soul-searching, poetry-quoting, singing and, of course, a great deal of eating.
The success of this movie is largely thanks to the interaction between Coogan – grumpy, promiscuous, self-important, struggling to shred his Alan Partridge past and find that level of success again – and Brydon – a dedicated husband and father, satisfied with his career and notoriety, concerned for his friend’s obvious unhappiness. They really are chalk and cheese. Brydon’s constant impersonations drive Coogan to distraction, fuelled by a not-so-subtle jealousy at Brydon’s talent. Brydon acts his age and is a devoted family man, in sharp contrast to weed-smoking, playboy Coogan. And while Coogan seems displeased to have Brydon as his travelling companion, we know that Brydon is good for Coogan, questioning his lifestyle and priorities. And by the end, even Coogan admits he’s had a good time. As have we.
The humour here is very British. Some cultural references will be lost on many. If you don’t have a passing acquaintance with the works of Michael Caine, you may be in trouble. In fact, if you don’t know either Coogan or Brydon, you’re in bigger trouble. Here we have wit and intellect, which may not be everyone’s cup of tea. But if this sounds like a bit of you, you’ll be in movie heaven, much like I was. Look out for period movie skit in the car – absolute brilliance. And then we have the food – O.M.G. My mouth was watering. There were ooh, aahs and sighs from the audience at the sight and description of some of the dishes.
This movie was a delight. Enough said.
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Steve: I've, uh, asked other people but they're all too busy, so you know, do you wanna come?
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