Chris Cooper, Pierce Brosnan, Patricia Clarkson, Rachel McAdams, David Richmond-Peck
Dir. Ira Sachs
Scr. Ira Sachs & Oren Moverman (based on the novel “Five Roundabouts to Heaven” by John Bingham)
Married Life is a smart, funny, well acted drama. The major moral dilemma we are asked to buy into might well be mildly far-fetched, if not fully-flung absurd. And while this movie is mostly compelling, its pace is sometimes lost. I guess it’s what you could call a slow-burner. In the end, the resolution is neat, believable and even heart-warming. But I couldn’t help feeling slightly ripped off at not being treated to a more chilling and thrilling conclusion. It had potential in spades.
Set in the 1940s, Married Life tells the story of married couple Harry and Pat, Harry’s best friend Rich, and Harry’s mistress Kay. Harry is a dependable sort of bloke who, despite falling in love with another woman, is hesitant to leave his wife because of the hurt and humiliation it will cause. Pat, a frank and cheery woman, has no idea Harry is cheating but, as you will discover, has secrets of her own. Rich is a player, as they say, and on meeting his best friend’s bit-on-the-side, is immediately infatuated with the lovely Kay. What unfolds could almost be a comedy, if it wasn’t so tragic. Harry, intent on both being with Kay and not breaking his wife’s heart, decides the most humane thing to do would be to kill Pat. Painlessly, of course.
The gist of the movie, as summarised in its tagline, is ‘do you know what really goes on in the mind of the person with whom you sleep?’ From the goings-on in this story, the answer is clearly no. It’s a disturbing thought. While no one is completely evil in this film (not even murderous Harry), each and every character would shock their lover with their thoughts and motivations. Wouldn’t we all?
I can’t fault the acting in Married Life. The cast is a director’s dream. Brosnan (as Rich) is on fine form and well suited to both the period and the character. McAdams (as Kay) does surprisingly well – I am not the biggest fan, but she plays this more-complex-than-meets-the-eye character well. Clarkson (as Pat) is a treat to watch – she truly is one the best actresses working today. But, as always, Cooper (as Harry) steals the show. Cooper is an amazing actor, possessed of a wonderfully lived-in face, whose emotional journey in this film is at times chilling, at times heart-breaking. In the end, it is the performances of these actors that keep you hooked on Married Life.
Visually, Married Life is fantastic. The tone is set with a wonderful opening title sequence. From there we are treated to authentic costumes and great sets. Married Life also treats us to a proper and formal way of speaking that harks back to a more restrictive time. But even within this formality, sex was still sex, and the frankness of the circumstances ensures the audience doesn’t feel too distant from characters of a bygone era.
Married Life might bore some. It’s not a thrill-a-minute, although at times it feels like it’s winding itself up to try to be. It’s certainly funny, and at times you will be laughing nervously. Ultimately, I thought the ending could have been stronger – less neat, more bloody! And while you don’t know what is going to happen to these characters in the long-run, you suspect it’ll all be okay. Married Life didn’t deliver 100% for me. But this is a well acted, mostly compelling, slightly odd film that I’m glad I saw.
Sunday, July 20, 2008
Sunday, July 13, 2008
Mamma Mia!
Meryl Streep, Pierce Brosnan, Colin Firth, Stellan Skarsgard, Julie Walters, Christine Baranski, Amanda Seyfried, Dominic Cooper
Dir. Phyllida Lloyd
Scr. Catherine Johnson
What fun! Mammia Mia is a movie for musical-lovers – for people who don’t cringe when characters burst into song, for people not concerned too much with realism, for cinema-goers who like to leave the theatre with a grin on their faces. Someone like me, in other words. And while I’m not the hugest ABBA fan, it’s always a comfort and a treat to know the songs being belted out on screen. This film isn’t perfect by any means, but it might just be the most fun you’ll have on a rainy Saturday afternoon.
Mamma Mia is based on the hugely popular stage musical of the same name, which uses the songs of ABBA to tell the story of soon-to-be-wed Sophie, who lives with her mother, Donna, on a small Greek island. After finding her mother’s diary from the year before she was born, Sophie figures out that her father is one of three men. So, desperate to know who her father is, Sophie invites all three to the wedding, sure that she will know “him” when she sees him. When all three possible fathers actually turn up – Sam the architect, Harry the banker, Bill the adventure writer – chaos and hilarity ensues.
This film is a visual treat. Some of the filming was done on the Greek Islands of Skopelos and Skiathos. But, I was surprised to find out that most of the movie was filmed on the 007 stage at Pinewood Studios. You certainly can’t tell – this film will make you want to move to a Greek island, or at least plan your next vacation there. And while the plot is more than a little ludicrous, you’ll easily forgive an outrageous story because this film looks simply gorgeous. And, least we forget, it’s a musical – the most surreal and ridiculous genre to have ever been conceived. And often the most pleasurable.
The youngsters in Mamma Mia are great. Seyfried (who plays fatherless Sophie) possesses a wonderful, pure voice and has a lovely chemistry with her onscreen mother (Streep) – it’s no stretch of the imagination that they are mother and daughter. Cooper (Sky, the fiancé), is likeable and cute and has a strong voice. It’s clear the young half of the ensemble were cast at least partly for their musical talent. The older set, well, they are more of a mixed bag. But I have to give them all an ‘A’ for effort. Brosnan (as Sam, possible father #1) looks slightly terrified when he is singing. His voice isn’t strong, but it is sweet and he’s a good enough actor to inject emotion into the tune and make it moving. And he’s absolutely dishy, which helps. Firth (as Harry, possible father #2) and Skarsgard (as Bill, possible father #3) have weaker voices and, wisely, aren’t given a lot of solo singing to do. But, again, these men are experienced, fine actors and they admirably manage to fake it. Firth is, as usual, gorgeous and very funny indeed. Skarsgard has a wonderful twinkle in his eye which lets you know he is having a ball. Even Benny and Bjorn make cameo appearances, alongside their Executive Producer and Composer credits.
The older women in the cast more than make up for any lack of musical talent from Brosnan, Firth and Skarsgard. Walters and Baranski (as Donna’s best friends Rosie and Tanya) are simply wonderful. Their characters are like chalk and cheese, and this plays out with much humour. And, man, that Baranski can belt out a tune. Walters is not as strong, but she makes up for any weakness in her voice with her great comic ability. Much, much, much credit, however, must go to Meryl Streep (as Donna) in this film. Her acting is spot on. And her singing, well, it blew me away. When she sings “The Winner Takes It All” to Brosnan, I swear I had goose-bumps. Casting her in this film was inspired.
Mamma Mia is an energetic and fun frolic on an island paradise with some quality actors and a whole lot of instantly recognisable songs – in other words, a jolly good film. Some of the singing might be shaky and the plot might be silly, but everyone is clearly having the time of their lives. As was I. Highly recommend if you’re a fan of the musical genre.
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Rosie: Typical, you wait 20 years for a father and then three show up at once.
Dir. Phyllida Lloyd
Scr. Catherine Johnson
What fun! Mammia Mia is a movie for musical-lovers – for people who don’t cringe when characters burst into song, for people not concerned too much with realism, for cinema-goers who like to leave the theatre with a grin on their faces. Someone like me, in other words. And while I’m not the hugest ABBA fan, it’s always a comfort and a treat to know the songs being belted out on screen. This film isn’t perfect by any means, but it might just be the most fun you’ll have on a rainy Saturday afternoon.
Mamma Mia is based on the hugely popular stage musical of the same name, which uses the songs of ABBA to tell the story of soon-to-be-wed Sophie, who lives with her mother, Donna, on a small Greek island. After finding her mother’s diary from the year before she was born, Sophie figures out that her father is one of three men. So, desperate to know who her father is, Sophie invites all three to the wedding, sure that she will know “him” when she sees him. When all three possible fathers actually turn up – Sam the architect, Harry the banker, Bill the adventure writer – chaos and hilarity ensues.
This film is a visual treat. Some of the filming was done on the Greek Islands of Skopelos and Skiathos. But, I was surprised to find out that most of the movie was filmed on the 007 stage at Pinewood Studios. You certainly can’t tell – this film will make you want to move to a Greek island, or at least plan your next vacation there. And while the plot is more than a little ludicrous, you’ll easily forgive an outrageous story because this film looks simply gorgeous. And, least we forget, it’s a musical – the most surreal and ridiculous genre to have ever been conceived. And often the most pleasurable.
The youngsters in Mamma Mia are great. Seyfried (who plays fatherless Sophie) possesses a wonderful, pure voice and has a lovely chemistry with her onscreen mother (Streep) – it’s no stretch of the imagination that they are mother and daughter. Cooper (Sky, the fiancé), is likeable and cute and has a strong voice. It’s clear the young half of the ensemble were cast at least partly for their musical talent. The older set, well, they are more of a mixed bag. But I have to give them all an ‘A’ for effort. Brosnan (as Sam, possible father #1) looks slightly terrified when he is singing. His voice isn’t strong, but it is sweet and he’s a good enough actor to inject emotion into the tune and make it moving. And he’s absolutely dishy, which helps. Firth (as Harry, possible father #2) and Skarsgard (as Bill, possible father #3) have weaker voices and, wisely, aren’t given a lot of solo singing to do. But, again, these men are experienced, fine actors and they admirably manage to fake it. Firth is, as usual, gorgeous and very funny indeed. Skarsgard has a wonderful twinkle in his eye which lets you know he is having a ball. Even Benny and Bjorn make cameo appearances, alongside their Executive Producer and Composer credits.
The older women in the cast more than make up for any lack of musical talent from Brosnan, Firth and Skarsgard. Walters and Baranski (as Donna’s best friends Rosie and Tanya) are simply wonderful. Their characters are like chalk and cheese, and this plays out with much humour. And, man, that Baranski can belt out a tune. Walters is not as strong, but she makes up for any weakness in her voice with her great comic ability. Much, much, much credit, however, must go to Meryl Streep (as Donna) in this film. Her acting is spot on. And her singing, well, it blew me away. When she sings “The Winner Takes It All” to Brosnan, I swear I had goose-bumps. Casting her in this film was inspired.
Mamma Mia is an energetic and fun frolic on an island paradise with some quality actors and a whole lot of instantly recognisable songs – in other words, a jolly good film. Some of the singing might be shaky and the plot might be silly, but everyone is clearly having the time of their lives. As was I. Highly recommend if you’re a fan of the musical genre.
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Rosie: Typical, you wait 20 years for a father and then three show up at once.
Sunday, July 6, 2008
Before the Devil Knows You’re Dead
Philip Seymour Hoffman, Ethan Hawke, Albert Finney, Marisa Tomei
Dir. Sidney Lumet
Scr. Kelly Masterson
This certainly isn’t a cheery film. And not one to take your grandma to see. But it’s a bloody good film – well crafted and paced, well acted, compelling. Sidney Lumet, obviously still going strong in his 80s, has assembled a stellar cast who deliver in spades. You might not “enjoy” this movie, but you’ll appreciate a fine director and cast at work.
Before the Devil Knows You’re Dead (the title taken from an old Irish saying – “May you be in heaven a full half hour before the devil knows you're dead”) tells the story of brothers Andy and Hank Hanson, who embark on a seemingly fool-proof plan to rob a jewelry store and solve their financial woes. Hank, a divorced, deadbeat dad, is way behind on child support payments; Andy is in a pickle at work and has a wife who likes to spend his money. The robbery goes terribly wrong – don’t they all? – and events and repercussions spiral out of the control. The tagline of this film – “No one was supposed to get hurt” – hints at the fact that everyone does. Big time.
Before the Devil is non-linear – we jump from character to character, from days before the robbery, to days after. This certainly isn’t a new cinematic device, especially in this genre, and can often be both annoying and confusing. But it is handled deftly in this film and the tension builds wonderfully.
This film is an insight into several disturbing facets of personality. You won’t necessarily like the characters in this film – they are hugely flawed and sometimes downright horrid – but they are very believable. Hank is weak. Andy is unforgiving. Gina (Andy’s wife) is never satisfied. Charles (Hank and Andy’s father) is cruel. These characters don’t redeem themselves, they don’t suddenly come good. It’s a bleak picture of modern life. Some may find it hard to watch, but it is tragedy as its best.
The cast of this film is very good indeed. Hoffman, as Andy, is the stand-out. He is an actor that simply doesn’t disappoint. And he is especially good as the flawed and unlikeable man. The scene in the car after his mother’s funeral is quite gut-wrenching. Hawke – on the face of it, an unexpected casting choice – is wonderful as the weak, hopeless younger brother Hank. Talked into anything, you simply want to slap him and tell him to get a backbone. Finney, as their father Charles, is on fine form. Having ignored his older son and smothered his younger son, Charles could in fact be held responsible for all that transpires in this story. And, in the end, he makes a choice that will have you questioning the assumption that parental love overcomes all. Tomei, as Andy’s wife Gina, is pretty good. I found her character hugely unlikeable and so found it hard to like Tomei in this film. So, I have to concede, well done on her part.
I recommend this film. It’s not an easy watch. And the very graphic opening scene might put some off. But this is a finely crafted, compelling, superbly acted film about the worst in all of us.
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Andy Hanson: The thing about real estate accounting is that you can add down the page or across the page and everything works out. Everyday, everything adds up. The total is always the sum of its parts. It's, uh, clean. It's clear. Neat, absolute. But my life, it, uh, it doesn't add up. It, uh... Nothing connects to anything else. It's, uh... I'm not, I'm not the sum of my parts. All my parts don't add up to one... to one me, I guess.
Dir. Sidney Lumet
Scr. Kelly Masterson
This certainly isn’t a cheery film. And not one to take your grandma to see. But it’s a bloody good film – well crafted and paced, well acted, compelling. Sidney Lumet, obviously still going strong in his 80s, has assembled a stellar cast who deliver in spades. You might not “enjoy” this movie, but you’ll appreciate a fine director and cast at work.
Before the Devil Knows You’re Dead (the title taken from an old Irish saying – “May you be in heaven a full half hour before the devil knows you're dead”) tells the story of brothers Andy and Hank Hanson, who embark on a seemingly fool-proof plan to rob a jewelry store and solve their financial woes. Hank, a divorced, deadbeat dad, is way behind on child support payments; Andy is in a pickle at work and has a wife who likes to spend his money. The robbery goes terribly wrong – don’t they all? – and events and repercussions spiral out of the control. The tagline of this film – “No one was supposed to get hurt” – hints at the fact that everyone does. Big time.
Before the Devil is non-linear – we jump from character to character, from days before the robbery, to days after. This certainly isn’t a new cinematic device, especially in this genre, and can often be both annoying and confusing. But it is handled deftly in this film and the tension builds wonderfully.
This film is an insight into several disturbing facets of personality. You won’t necessarily like the characters in this film – they are hugely flawed and sometimes downright horrid – but they are very believable. Hank is weak. Andy is unforgiving. Gina (Andy’s wife) is never satisfied. Charles (Hank and Andy’s father) is cruel. These characters don’t redeem themselves, they don’t suddenly come good. It’s a bleak picture of modern life. Some may find it hard to watch, but it is tragedy as its best.
The cast of this film is very good indeed. Hoffman, as Andy, is the stand-out. He is an actor that simply doesn’t disappoint. And he is especially good as the flawed and unlikeable man. The scene in the car after his mother’s funeral is quite gut-wrenching. Hawke – on the face of it, an unexpected casting choice – is wonderful as the weak, hopeless younger brother Hank. Talked into anything, you simply want to slap him and tell him to get a backbone. Finney, as their father Charles, is on fine form. Having ignored his older son and smothered his younger son, Charles could in fact be held responsible for all that transpires in this story. And, in the end, he makes a choice that will have you questioning the assumption that parental love overcomes all. Tomei, as Andy’s wife Gina, is pretty good. I found her character hugely unlikeable and so found it hard to like Tomei in this film. So, I have to concede, well done on her part.
I recommend this film. It’s not an easy watch. And the very graphic opening scene might put some off. But this is a finely crafted, compelling, superbly acted film about the worst in all of us.
-----------------------------------------
Andy Hanson: The thing about real estate accounting is that you can add down the page or across the page and everything works out. Everyday, everything adds up. The total is always the sum of its parts. It's, uh, clean. It's clear. Neat, absolute. But my life, it, uh, it doesn't add up. It, uh... Nothing connects to anything else. It's, uh... I'm not, I'm not the sum of my parts. All my parts don't add up to one... to one me, I guess.
Sunday, June 15, 2008
The Happening
Mark Walhberg, Zooey Deschanel, John Leguizamo, Ashlyn Sanchez, Betty Buckley
Dir. M. Night Shyamalan
Scr. M. Night Shyamalan
I’m a big M. Night Shyamalan fan. Sure, not all his movies have been winners. But he brings a unique vision to the cinema and I commend him for it. Having said that, he’s not been able to translate that vision into a truly solid film since Unbreakable. I really did hope that The Happening would see a return to form. Alas, this is not the case. I would even venture to say that The Happening is Shyamalan’s worst film. Aside from a few truly chilling and disturbing scenes, The Happening is largely terrible.
The Happening tells the story of nature fighting back. In Central Park, on a lovely spring day, suddenly people start to talk nonsense, become motionless and, finally, take their own lives in a variety of ways. Why, you might ask. Terrorism, surely. Well, yeah, but not of the kind George Bush is warring against. As the phenomenon spreads to other surrounding big centres, many flee the cities, including our protagonist Elliot Moore, a high school science teacher, his troubled wife, Alma, Moore’s colleague Julian and his daughter Jess. It soon becomes clear that where there are few people is where they want to be and the group venture into very, very small town America. They end up lodging for the night with the incredibly mad and scary Mrs Jones and, well, by this point the movie has long since ceased to be credible, interesting or compelling. It ends well for some, not so well for others, and we are fed a not-so-subtle and downright laboured environmental message.
This film suffers from some very bad writing and some even worse acting, but it is slightly redeemed by some truly unforgettable scenes. Shyamalan is undoubtedly a visionary director – he gives us shots and scenes that will make you gasp out loud. Reminiscent of Hitchcock, Shyamalan makes us see in different ways, at different angles. The scene early on in the film, at the building site in New York City, is incredibly chilling and truly memorable. There are several scenes that fall into that same category. Unfortunately, a few great moments do not add up to a great film.
Almost without exception, the acting on offer here is poor. At times, more than poor – truly terrible. The main culprit is Walhberg who, as the lead, is meant to carry the film. Shyamalan has had some great leads to work with – Bruce Willis in both The Sixth Sense and Unbreakable, Mel Gibson in Signs, Joaquin Phoenix in both Signs and The Village – but Walhberg is simply not in the same class. And without a believable, approachable lead that the audience can hang their hopes on, the film crumbles. Deschanel, as Alma Moore, is equally rubbish. She does wide-eyed horror quite well, but that’s about it. Leguizamo is woefully underused as fellow high-school teacher, Julian. By the time we get to Buckley, as creepy Mrs Jones, the film has become something else entirely – a cheesy horror flick – and she’s nothing more than a cliché. I hate to say it, but the best acting comes from little Ashlyn Sanchez, as 8-year-old Jess. Shyamalan does have a knack of getting good performances out of kids.
Signs and Unbreakable received more than their fare share of criticism, but I gladly stick up for two films I believe are misunderstood by many critics and cinema-goers. I will not, however, be going into bat for The Happening. If you’re a Shyamalan fan, I guess you will see it despite what I write. I would have. But, if you’re not, I recommend you stay at home and re-watch Signs – it really is his best work.
Dir. M. Night Shyamalan
Scr. M. Night Shyamalan
I’m a big M. Night Shyamalan fan. Sure, not all his movies have been winners. But he brings a unique vision to the cinema and I commend him for it. Having said that, he’s not been able to translate that vision into a truly solid film since Unbreakable. I really did hope that The Happening would see a return to form. Alas, this is not the case. I would even venture to say that The Happening is Shyamalan’s worst film. Aside from a few truly chilling and disturbing scenes, The Happening is largely terrible.
The Happening tells the story of nature fighting back. In Central Park, on a lovely spring day, suddenly people start to talk nonsense, become motionless and, finally, take their own lives in a variety of ways. Why, you might ask. Terrorism, surely. Well, yeah, but not of the kind George Bush is warring against. As the phenomenon spreads to other surrounding big centres, many flee the cities, including our protagonist Elliot Moore, a high school science teacher, his troubled wife, Alma, Moore’s colleague Julian and his daughter Jess. It soon becomes clear that where there are few people is where they want to be and the group venture into very, very small town America. They end up lodging for the night with the incredibly mad and scary Mrs Jones and, well, by this point the movie has long since ceased to be credible, interesting or compelling. It ends well for some, not so well for others, and we are fed a not-so-subtle and downright laboured environmental message.
This film suffers from some very bad writing and some even worse acting, but it is slightly redeemed by some truly unforgettable scenes. Shyamalan is undoubtedly a visionary director – he gives us shots and scenes that will make you gasp out loud. Reminiscent of Hitchcock, Shyamalan makes us see in different ways, at different angles. The scene early on in the film, at the building site in New York City, is incredibly chilling and truly memorable. There are several scenes that fall into that same category. Unfortunately, a few great moments do not add up to a great film.
Almost without exception, the acting on offer here is poor. At times, more than poor – truly terrible. The main culprit is Walhberg who, as the lead, is meant to carry the film. Shyamalan has had some great leads to work with – Bruce Willis in both The Sixth Sense and Unbreakable, Mel Gibson in Signs, Joaquin Phoenix in both Signs and The Village – but Walhberg is simply not in the same class. And without a believable, approachable lead that the audience can hang their hopes on, the film crumbles. Deschanel, as Alma Moore, is equally rubbish. She does wide-eyed horror quite well, but that’s about it. Leguizamo is woefully underused as fellow high-school teacher, Julian. By the time we get to Buckley, as creepy Mrs Jones, the film has become something else entirely – a cheesy horror flick – and she’s nothing more than a cliché. I hate to say it, but the best acting comes from little Ashlyn Sanchez, as 8-year-old Jess. Shyamalan does have a knack of getting good performances out of kids.
Signs and Unbreakable received more than their fare share of criticism, but I gladly stick up for two films I believe are misunderstood by many critics and cinema-goers. I will not, however, be going into bat for The Happening. If you’re a Shyamalan fan, I guess you will see it despite what I write. I would have. But, if you’re not, I recommend you stay at home and re-watch Signs – it really is his best work.
The Incredible Hulk
Edward Norton, Liv Tyler, William Hurt, Tim Roth, Tim Blake Nelson, Lou Ferrigno
Dir. Louis Leterrier
Scr. Zak Penn
After the truly off-the-mark Ang Lee Hulk movie of 2003, it seemed inevitable Hollywood would try again. And although the result is ten times better than Lee’s version, this outing is by no means perfect. But they are working with perhaps the most boring superhero of all time – the film, for instance, is completely humourless, but how do you make a big, stupid green monster funny? He gets angry and roars and creates mayhem – not a lot of nuance to be had. What is interesting about The Hulk are all the bits when he’s not The Hulk and this version certainly keeps the audience engaged on that front. A largely enjoyable film, The Incredible Hulk will ensure the survival of this newly revived franchise.
The Incredible Hulk picks up with fugitive Dr Bruce Banner hiding out in Brazil, desperately trying to find a cure for his “hulk-like” tendencies, having fled the US, leaving his lady love – fellow scientist Betty Ross – and all those chasing him, behind. We see Banner working on his anger issues – deep breathing and so on – and communicating with “Dr Blue” in an effort to get rid of what’s inside him. It doesn’t take long for an accident at work to betray his whereabouts to General Thaddeus Ross and his team of top-class soldiers, including enigmatic and brilliant Emil Blonsky, and Banner decides enough is enough. He returns to the US in an effort to find that cure and live happily ever after. And, well, it nearly turns out that way.
This film looks pretty good and is paced just about perfectly. The scenes in Brazil are an interesting insight into Banner and once he returns to the US, it’s just a rollercoaster until the end. While Ang Lee wanted us to understand the Hulk and make him more humane, director Leterrier and writer Penn understand that this is not a winning formula – understanding Banner and his attempts to stop the Hulk getting out is much more interesting. The Hulk is a big lug and that’s about it. And while he recognises and protects Betty, that’s really just a plot device to make sure she doesn’t die (although I think the film might have been vastly improved if she did). When the Hulk is unleashed, we want to see the Hulk – end of story.
The acting is mostly pretty solid in The Incredible Hulk. Edward Norton does a good job as Banner – he’s believable as a scientist and as a strongman. It helps, as is the case in Batman and Ironman, to have a skilled actor in an exaggerated and clichéd role – a less capable actor is prone to hamming it up and the result can be terrible. The only kink in Norton’s armour is the lack of chemistry between himself and Liv Tyler, who plays love interest Betty Ross. Tyler is not believable as a scientist. Or even an actress, for that matter. That look in Norton’s eyes is not love; it’s disbelief at her attempts at acting. She is bad and that’s all there is to say. Fine performances are delivered by both Hurt (as General Ross) and Roth (as Blonsky) – gutsy, strong, horribly evil. Watch out for a nicely played cameo from the TV hulk, Lou Ferrigno, who also provides the voice for the Hulk for such inspired lines as “HULK … SMASH!”
An inspired, cryptic final scene guarantees The Incredible Hulk II (or will it be Ironman II?) an eager audience. This Hulk is entertaining and a good night out. It’s not going to ever be in the same league as Batman Begins or Ironman, but then the big green guy is not exactly known for his charm or wit. If you’re a fan of action, Marvel or big lugs, go see it.
---------------------------------
General Ross: As far as I'm concerned that man's whole body is property of the US Army.
Dir. Louis Leterrier
Scr. Zak Penn
After the truly off-the-mark Ang Lee Hulk movie of 2003, it seemed inevitable Hollywood would try again. And although the result is ten times better than Lee’s version, this outing is by no means perfect. But they are working with perhaps the most boring superhero of all time – the film, for instance, is completely humourless, but how do you make a big, stupid green monster funny? He gets angry and roars and creates mayhem – not a lot of nuance to be had. What is interesting about The Hulk are all the bits when he’s not The Hulk and this version certainly keeps the audience engaged on that front. A largely enjoyable film, The Incredible Hulk will ensure the survival of this newly revived franchise.
The Incredible Hulk picks up with fugitive Dr Bruce Banner hiding out in Brazil, desperately trying to find a cure for his “hulk-like” tendencies, having fled the US, leaving his lady love – fellow scientist Betty Ross – and all those chasing him, behind. We see Banner working on his anger issues – deep breathing and so on – and communicating with “Dr Blue” in an effort to get rid of what’s inside him. It doesn’t take long for an accident at work to betray his whereabouts to General Thaddeus Ross and his team of top-class soldiers, including enigmatic and brilliant Emil Blonsky, and Banner decides enough is enough. He returns to the US in an effort to find that cure and live happily ever after. And, well, it nearly turns out that way.
This film looks pretty good and is paced just about perfectly. The scenes in Brazil are an interesting insight into Banner and once he returns to the US, it’s just a rollercoaster until the end. While Ang Lee wanted us to understand the Hulk and make him more humane, director Leterrier and writer Penn understand that this is not a winning formula – understanding Banner and his attempts to stop the Hulk getting out is much more interesting. The Hulk is a big lug and that’s about it. And while he recognises and protects Betty, that’s really just a plot device to make sure she doesn’t die (although I think the film might have been vastly improved if she did). When the Hulk is unleashed, we want to see the Hulk – end of story.
The acting is mostly pretty solid in The Incredible Hulk. Edward Norton does a good job as Banner – he’s believable as a scientist and as a strongman. It helps, as is the case in Batman and Ironman, to have a skilled actor in an exaggerated and clichéd role – a less capable actor is prone to hamming it up and the result can be terrible. The only kink in Norton’s armour is the lack of chemistry between himself and Liv Tyler, who plays love interest Betty Ross. Tyler is not believable as a scientist. Or even an actress, for that matter. That look in Norton’s eyes is not love; it’s disbelief at her attempts at acting. She is bad and that’s all there is to say. Fine performances are delivered by both Hurt (as General Ross) and Roth (as Blonsky) – gutsy, strong, horribly evil. Watch out for a nicely played cameo from the TV hulk, Lou Ferrigno, who also provides the voice for the Hulk for such inspired lines as “HULK … SMASH!”
An inspired, cryptic final scene guarantees The Incredible Hulk II (or will it be Ironman II?) an eager audience. This Hulk is entertaining and a good night out. It’s not going to ever be in the same league as Batman Begins or Ironman, but then the big green guy is not exactly known for his charm or wit. If you’re a fan of action, Marvel or big lugs, go see it.
---------------------------------
General Ross: As far as I'm concerned that man's whole body is property of the US Army.
Sunday, June 8, 2008
Sex and the City: The Movie
Sarah Jessica Parker, Kim Cattrall, Cynthia Nixon, Kristin Davis, Chris Noth, Jennifer Hudson, Candice Bergen, David Eigenberg
Dir. & Scr. Michael Patrick King
SPOILERS AHEAD – do not read if you don’t want to know!
I, for one, am a Sex and the City fan. Loved the series, though it did get tired towards the end (as so many long-running TV shows do). Loved the characters, even when they annoyed the hell out of me. Loved the humour and the friendships. I was, therefore, both incredibly excited and extremely nervous about this movie. It was unlikely to satisfy everyone – you can split most fans into pro-Big and anti-Big for a start – and it had to appeal to those who were unfamiliar with the series. So I knew that there would be bits I liked, bits I less-than-liked and probably bits I hated. And, well, that was about right – I was amused, shocked, frustrated, appalled and shed a tear or two. In the end though, I’m glad I saw it and I’m glad they made it – it was great to spend time with the girls again.
We pick up the lives of Carrie, Samantha, Miranda and Charlotte three years after the last episode of the series. Miranda is still in Brooklyn with Steve and their son; Charlotte is blissfully happy with Harry and their adopted Chinese daughter; Samantha has moved to LA with her lover/client Smith; Carrie and Big are still together (shock horror!!!) and about to combine lives in the most unbelievably gorgeous New York apartment. A clumsy, unromantic conversation results in Carrie and Big deciding to get married and wedding madness ensues. And, anyone who has seen the show knows what’s coming next, things don’t exactly go to plan – in short, Big gets cold feet, Carrie smacks him around the head with her bouquet, and the girls end up in Mexico on Carrie’s intended honeymoon. On her return to New York, Carrie hires herself a personal assistant (Louise) to help retain her senses and return all the wedding gifts, and life goes on. Meanwhile, Charlotte falls pregnant, Miranda leaves Steve after an indiscretion, and Samantha has second thoughts about LA and about her relationship. The usual stuff really.
There are multiple happy endings ahead however. Miranda and Steve work things out. Charlotte has her miracle baby. Samantha moves back to New York. And Carrie and Big, well, they end up as Mr and Mrs Big. I don’t usually completely give away the ending of a film, but I really wanted to talk about these endings. So, tough cheese.
Charlotte is Charlotte and, well, hers is the most uninteresting story to be told. Personally, I’ve always found the character to be the most annoying and this doesn’t change in the film. Samantha, on the other hand, is a great character and, although it’s sad that things don’t work out with Smith, it was nice to see her character remain true – she isn’t a relationship type of gal and she certainly isn’t LA material. Nice work on this Mr King. What happens between Miranda and Steve really has me in two minds. Miranda did what many a strong woman would do when they found out about a cheating spouse – no ifs, no buts, no second chances, she was out the door – and this was very true to her character. The fact they got back together, well, I don’t know about that. True, things are nearly never as black and white as they first appear. And, true, Miranda wouldn’t be the easiest person to be married to. But, still, the Miranda/Steve plot of this film troubles me and will probably keep troubling me for some time. That leaves us with Carrie and Big. I’m a fan of Mr Big. Obviously he’s been a cad in the past, but I always had a soft spot. And, to be honest, I think Michael Patrick King was really spot on with this storyline. It was so obviously a case of two hugely flawed people, who were both to blame for a wedding fiasco, and who finally found their way back to what brought them together in the first place.
There are some really, really annoying and frustrating moments in this movie. The extent to which Carrie is devastated after being jilted by Big is hugely extreme, especially when you consider that Miranda has just been cheated on by her husband (surely a bigger and more shocking betrayal of trust). Charlotte is given little to do but be a plot device. Miranda gets unfairly treated in a major way by Carrie – theirs was always the closest and most interesting friendship, and perhaps that’s why such an argument and fall-out was staged, but I still thought it was completely unreasonable. I didn’t quite understand the point of the character of Louise (Carrie’s assistant) except to showcase Jennifer Hudson – yeah, sure, she’s young and looking for love (like Carrie once was) but it felt like a distraction more than a compelling sub-plot. These things grated on my nerves but didn’t ruin what was a mostly enjoyable film.
The acting on offer in Sex and the City was flawless. The actors are so used to these characters; there was no need for warming up or finding the right mix. There’s a chemistry between Carrie and Big, between Miranda and Steve, between the four friends, that is tried and true. A special mention has to go to Sarah Jessica Parker – she really gives her all in this film and it is the best acting I have ever seen from her, in anything. The scene where she confronts Big after he, then she, flees from the wedding venue, is brilliant – shocking and real and ever so slightly amusing. Carrie has always been the most multi-dimensional of the characters and the movie is no exception.
If you would rather stick a blunt spoon in your eye than watch a Sex and the City episode (I’m guessing that is most straight men out there), you should definitely avoid this film. If you’re a fan, you’ll see it, of course you will. Expect to be thrilled and shocked and saddened and amused and annoyed. You will be. But in the end, you will not regret spending another 148 minutes with these flawed, frustrating, wonderful characters.
------------------------------------------
Miranda: Is it just me or is Valentine's Day on steroids this year?
Carrie: No, it's the same, we just played for the other team.
Dir. & Scr. Michael Patrick King
SPOILERS AHEAD – do not read if you don’t want to know!
I, for one, am a Sex and the City fan. Loved the series, though it did get tired towards the end (as so many long-running TV shows do). Loved the characters, even when they annoyed the hell out of me. Loved the humour and the friendships. I was, therefore, both incredibly excited and extremely nervous about this movie. It was unlikely to satisfy everyone – you can split most fans into pro-Big and anti-Big for a start – and it had to appeal to those who were unfamiliar with the series. So I knew that there would be bits I liked, bits I less-than-liked and probably bits I hated. And, well, that was about right – I was amused, shocked, frustrated, appalled and shed a tear or two. In the end though, I’m glad I saw it and I’m glad they made it – it was great to spend time with the girls again.
We pick up the lives of Carrie, Samantha, Miranda and Charlotte three years after the last episode of the series. Miranda is still in Brooklyn with Steve and their son; Charlotte is blissfully happy with Harry and their adopted Chinese daughter; Samantha has moved to LA with her lover/client Smith; Carrie and Big are still together (shock horror!!!) and about to combine lives in the most unbelievably gorgeous New York apartment. A clumsy, unromantic conversation results in Carrie and Big deciding to get married and wedding madness ensues. And, anyone who has seen the show knows what’s coming next, things don’t exactly go to plan – in short, Big gets cold feet, Carrie smacks him around the head with her bouquet, and the girls end up in Mexico on Carrie’s intended honeymoon. On her return to New York, Carrie hires herself a personal assistant (Louise) to help retain her senses and return all the wedding gifts, and life goes on. Meanwhile, Charlotte falls pregnant, Miranda leaves Steve after an indiscretion, and Samantha has second thoughts about LA and about her relationship. The usual stuff really.
There are multiple happy endings ahead however. Miranda and Steve work things out. Charlotte has her miracle baby. Samantha moves back to New York. And Carrie and Big, well, they end up as Mr and Mrs Big. I don’t usually completely give away the ending of a film, but I really wanted to talk about these endings. So, tough cheese.
Charlotte is Charlotte and, well, hers is the most uninteresting story to be told. Personally, I’ve always found the character to be the most annoying and this doesn’t change in the film. Samantha, on the other hand, is a great character and, although it’s sad that things don’t work out with Smith, it was nice to see her character remain true – she isn’t a relationship type of gal and she certainly isn’t LA material. Nice work on this Mr King. What happens between Miranda and Steve really has me in two minds. Miranda did what many a strong woman would do when they found out about a cheating spouse – no ifs, no buts, no second chances, she was out the door – and this was very true to her character. The fact they got back together, well, I don’t know about that. True, things are nearly never as black and white as they first appear. And, true, Miranda wouldn’t be the easiest person to be married to. But, still, the Miranda/Steve plot of this film troubles me and will probably keep troubling me for some time. That leaves us with Carrie and Big. I’m a fan of Mr Big. Obviously he’s been a cad in the past, but I always had a soft spot. And, to be honest, I think Michael Patrick King was really spot on with this storyline. It was so obviously a case of two hugely flawed people, who were both to blame for a wedding fiasco, and who finally found their way back to what brought them together in the first place.
There are some really, really annoying and frustrating moments in this movie. The extent to which Carrie is devastated after being jilted by Big is hugely extreme, especially when you consider that Miranda has just been cheated on by her husband (surely a bigger and more shocking betrayal of trust). Charlotte is given little to do but be a plot device. Miranda gets unfairly treated in a major way by Carrie – theirs was always the closest and most interesting friendship, and perhaps that’s why such an argument and fall-out was staged, but I still thought it was completely unreasonable. I didn’t quite understand the point of the character of Louise (Carrie’s assistant) except to showcase Jennifer Hudson – yeah, sure, she’s young and looking for love (like Carrie once was) but it felt like a distraction more than a compelling sub-plot. These things grated on my nerves but didn’t ruin what was a mostly enjoyable film.
The acting on offer in Sex and the City was flawless. The actors are so used to these characters; there was no need for warming up or finding the right mix. There’s a chemistry between Carrie and Big, between Miranda and Steve, between the four friends, that is tried and true. A special mention has to go to Sarah Jessica Parker – she really gives her all in this film and it is the best acting I have ever seen from her, in anything. The scene where she confronts Big after he, then she, flees from the wedding venue, is brilliant – shocking and real and ever so slightly amusing. Carrie has always been the most multi-dimensional of the characters and the movie is no exception.
If you would rather stick a blunt spoon in your eye than watch a Sex and the City episode (I’m guessing that is most straight men out there), you should definitely avoid this film. If you’re a fan, you’ll see it, of course you will. Expect to be thrilled and shocked and saddened and amused and annoyed. You will be. But in the end, you will not regret spending another 148 minutes with these flawed, frustrating, wonderful characters.
------------------------------------------
Miranda: Is it just me or is Valentine's Day on steroids this year?
Carrie: No, it's the same, we just played for the other team.
Monday, June 2, 2008
Shine a Light
Mick Jagger, Keith Richards, Ronnie Wood, Charlie Watts, Martin Scorsese, Jack White, Buddy Guy, Christina Aguilera, Bill Clinton (all appearing as themselves)
Dir. Martin Scorsese
This weekend, my better half and I went to a Rolling Stones concert. This is not entirely true – we went to see the movie Shine a Light. But, to be honest, it was probably better than a live concert. Now, I’m not a huge Rolling Stones fan, but even I was swept along by the music, the atmosphere, the dancing. Shine a Light was a fantastically filmed, insightful, entertaining movie about some truly talented and energetic musicians.
Shine a Light was filmed during the Stones’ “A Bigger Bang” tour, specifically the night of a benefit concert hosted by Bill Clinton and his Mrs in New York. Enter, stage right, Marty Scorsese, the original anal, control freak director. Enter, stage left, The Rolling Stones, a laid back bunch, who don’t finalise their set list until the lights go up. The juxtaposition will have you chuckling, and the result is simply great – it’s wonderfully intimate, flawlessly edited, consistently engaging. Along the way we are treated to footage of interviews with the Stones, from their very very very early beginnings, to their thoughts on being aged rockers.
Particular highlights include the guest appearances by Jack White, Buddy Guy and Christina Aguilera, who are obviously thrilled to be part of the gig. In fact my favourite number was White’s duet with Mick on “Loving Cup” – two gritty, wonderful voices. Keith Richards’ solo effort on “You Got the Silver” was also a treat to watch.
Obviously I recommend this film for fans of the Stones. But even if you’re not particularly enamoured, I’d recommend giving it a go. You won’t see a better concert on film.
----------------------------
Martin Scorsese: We cannot set Mick Jagger on fire.
Dir. Martin Scorsese
This weekend, my better half and I went to a Rolling Stones concert. This is not entirely true – we went to see the movie Shine a Light. But, to be honest, it was probably better than a live concert. Now, I’m not a huge Rolling Stones fan, but even I was swept along by the music, the atmosphere, the dancing. Shine a Light was a fantastically filmed, insightful, entertaining movie about some truly talented and energetic musicians.
Shine a Light was filmed during the Stones’ “A Bigger Bang” tour, specifically the night of a benefit concert hosted by Bill Clinton and his Mrs in New York. Enter, stage right, Marty Scorsese, the original anal, control freak director. Enter, stage left, The Rolling Stones, a laid back bunch, who don’t finalise their set list until the lights go up. The juxtaposition will have you chuckling, and the result is simply great – it’s wonderfully intimate, flawlessly edited, consistently engaging. Along the way we are treated to footage of interviews with the Stones, from their very very very early beginnings, to their thoughts on being aged rockers.
Particular highlights include the guest appearances by Jack White, Buddy Guy and Christina Aguilera, who are obviously thrilled to be part of the gig. In fact my favourite number was White’s duet with Mick on “Loving Cup” – two gritty, wonderful voices. Keith Richards’ solo effort on “You Got the Silver” was also a treat to watch.
Obviously I recommend this film for fans of the Stones. But even if you’re not particularly enamoured, I’d recommend giving it a go. You won’t see a better concert on film.
----------------------------
Martin Scorsese: We cannot set Mick Jagger on fire.
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