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.
Saturday, August 13, 2011
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.
---------------------------------
Steve: I've, uh, asked other people but they're all too busy, so you know, do you wanna come?
Sunday, July 31, 2011
13 Assassins
Kôji Yakusho, Gorô Inagaki, Masachika Ichimura, Yûsuke Iseya
Dir. Takashi Miike
Scr. Kaneo Ikegami (based on screenplay by Daisuke Tengan)
There are very few films that come out of Hollywood or Europe that can possibly compete with the relentless fighting awesomeness of a film like 13 Assassins. And that’s really why you’d go to see this film. The samurai mythology is perhaps tiresomely familiar for some. The evil lord, an obvious bad guy. But the raging battleground, my goodness. A better choreographed fight sequence you will not see this year. If that gets your heart racing, see this film. If not, best you stay away.
13 Assassins, the remake of a 1963 film of the same name, is set during the last years of Japan’s feudal era. A group of samurai, with very little else on their plate in this age of peace, are enlisted to kill the evil Lord Naritsugu (Inagaki), half brother of the current Shogun, to prevent him taking power and reigning terror on the people. The 13 samurai lure Naritsugu and his troops to a village they have booby-trapped and fortified, and an epic and bloody battle ensues. I’m really not giving much away to say there are very few men left standing at the end.
The first half of 13 Assassins is a slow and purposeful build up to a frantic and compelling second act. Back stories are established, characters are introduced and all important themes are established – the way of the samurai, the question and conflict of duty and honour, the absolute horror and repercussions of Naritsugu’s actions (he is truly the baddest bad guy you will see on film for quite some time). While it might be too slow a burn for many, I think the ends justify the means and by the time Naritsugu and his men ride into Dodge the audience is more than ready for heads to roll. The first half of the film is also pretty darn serious and, at times, disturbing (for your own sanity, look away when the peasant girl is disrobed). So the injection of humour, in the guise of assassin number 13, Kiga Koyata (Iseya), is a welcome relief by the time the other 12 samurai stumble upon him in the forest. Basically, in this viewer’s opinion, 13 Assassins creeps up on you and then whacks you on the head with a spade. Brilliant.
The performances in this film are a slightly mixed bag. Some of the 13 assassins are somewhat inconsequential and you get a feeling they are making up numbers. Which means some of the performances are rather two-dimensional. But this is a minor quibble. Those performances that do stand out are simply great – the noble head samurai Shinzaemon Shimada (played by Takusho), the chillingly evil Naritsugu (played by Inagaki), the wonderfully strange and possibly immortal Kiga (played by Iseya) are particular favourites.
The true star of this film, however, is the combat; the relentless, violent, epic, cunning, bloody battle to the death. For those who can stomach it, the fighting in 13 Assassins is undeniably and utterly entertaining. And it is here that director Miike is on his finest form.
You’ll know whether you’re the target audience for this film and, if you are, you won’t be disappointed. The goods are delivered and you will lap them up. If you’re squeamish or a pacifist, avoid. And if you don’t like sub-titled movies, well, you’re simply not right in the head.
-----------------------
Lord Naritsugu: With death comes gratitude for life. If a man has lived in vain, then how trivial his life is.
Dir. Takashi Miike
Scr. Kaneo Ikegami (based on screenplay by Daisuke Tengan)
There are very few films that come out of Hollywood or Europe that can possibly compete with the relentless fighting awesomeness of a film like 13 Assassins. And that’s really why you’d go to see this film. The samurai mythology is perhaps tiresomely familiar for some. The evil lord, an obvious bad guy. But the raging battleground, my goodness. A better choreographed fight sequence you will not see this year. If that gets your heart racing, see this film. If not, best you stay away.
13 Assassins, the remake of a 1963 film of the same name, is set during the last years of Japan’s feudal era. A group of samurai, with very little else on their plate in this age of peace, are enlisted to kill the evil Lord Naritsugu (Inagaki), half brother of the current Shogun, to prevent him taking power and reigning terror on the people. The 13 samurai lure Naritsugu and his troops to a village they have booby-trapped and fortified, and an epic and bloody battle ensues. I’m really not giving much away to say there are very few men left standing at the end.
The first half of 13 Assassins is a slow and purposeful build up to a frantic and compelling second act. Back stories are established, characters are introduced and all important themes are established – the way of the samurai, the question and conflict of duty and honour, the absolute horror and repercussions of Naritsugu’s actions (he is truly the baddest bad guy you will see on film for quite some time). While it might be too slow a burn for many, I think the ends justify the means and by the time Naritsugu and his men ride into Dodge the audience is more than ready for heads to roll. The first half of the film is also pretty darn serious and, at times, disturbing (for your own sanity, look away when the peasant girl is disrobed). So the injection of humour, in the guise of assassin number 13, Kiga Koyata (Iseya), is a welcome relief by the time the other 12 samurai stumble upon him in the forest. Basically, in this viewer’s opinion, 13 Assassins creeps up on you and then whacks you on the head with a spade. Brilliant.
The performances in this film are a slightly mixed bag. Some of the 13 assassins are somewhat inconsequential and you get a feeling they are making up numbers. Which means some of the performances are rather two-dimensional. But this is a minor quibble. Those performances that do stand out are simply great – the noble head samurai Shinzaemon Shimada (played by Takusho), the chillingly evil Naritsugu (played by Inagaki), the wonderfully strange and possibly immortal Kiga (played by Iseya) are particular favourites.
The true star of this film, however, is the combat; the relentless, violent, epic, cunning, bloody battle to the death. For those who can stomach it, the fighting in 13 Assassins is undeniably and utterly entertaining. And it is here that director Miike is on his finest form.
You’ll know whether you’re the target audience for this film and, if you are, you won’t be disappointed. The goods are delivered and you will lap them up. If you’re squeamish or a pacifist, avoid. And if you don’t like sub-titled movies, well, you’re simply not right in the head.
-----------------------
Lord Naritsugu: With death comes gratitude for life. If a man has lived in vain, then how trivial his life is.
Sunday, June 19, 2011
Bridesmaids
Kristen Wiig, Maya Rudolph, Rose Byrne, Melissa McCarthy, Chris O’Dowd, Wendi McLendon-Covey, Ellie Kemper, Jon Hamm, Matt Lucas
Dir. Paul Feig
Scr. Kristen Wiig & Annie Mumolo
Bridesmaids has been labelled the female Hangover. And it’s not a bad comparison – there is complete inappropriateness that will make you shake your head at your own laughter, an element of the crude and many memorable moments (good and bad). For my money, Bridesmaids is better written with sharper dialogue (thanks largely, I suspect, to the brilliant Wiig), though twenty minutes could have easily been shaved off to make the movie more evenly paced. Simply put, you will know whether you’re the type of movie-goer that will want to spend $15 on a film such as this. I certainly wasn’t disappointed.
Bridesmaids is about a wedding, that’s a no-brainer, and a maid of honour struggling to do right by her best friend. Annie (Wiig) is disastrously unlucky in love and, when asked by Lillian (Rudolph) to be her maid of honour, has an immediate hot flush. Not a great start. And, believe me, it all gets a whole lot worse. From food poisoning to being kicked off a flight to freaking out at the bridal shower, Annie is not cut out for the job. Her arch nemesis, Johnny-come-lately friend Helen (Byrne), outdoes her at every turn and Annie is stripped of her maid of honour title. I’m sure I’m not spoiling the ending by saying everything turns out for the best, but not without some soul-searching, a new beau (O’Dowd) and some brilliant life coaching from fellow bridesmaid Megan (the wonderful McCarthy).
Wiig is undoubtedly the star of the show. A Saturday Night Live veteran, Wiig has finally been given a high profile vehicle all of her own. And it’s about time. She has a Meg Ryan/Cameron Diaz quality to her – loveable and goofy. She walks a fine line in this film – the character of Annie is very close to being completely unlikeable, but Wiig’s comic skills and persona make you root for her despite all her misdemeanours. I imagine most women can, in our own way, relate to Annie. She is a wonderfully written character, warts and all. Wiig has surrounded herself with a stellar and sometimes surprising cast. The fellow bridesmaids & bride are an eclectic bunch, played by some very funny actresses. McCarthy is particularly memorable, but they are all wonderful in their way. A key to the success of the story is the relationship between Annie and Lillian and this is played out with touching authenticity. O’Dowd, as Annie’s love interest Nathan, is simply adorable and quirky. An uncredited Hamm, of Mad Men fame, gives a brilliant turn as Annie’s love dis-interest. Turns from Matt Lucas and even Wilson Phillips makes Bridesmaids, at times, a little surreal.
Bridesmaids falls flat a little in the middle and I think it could have easily shed a few scenes without affecting the story. But it never takes long to get you back on board and, invariably, laughing or cringing again. There were two particularly cringe-worthy scenes, during both of which I was hiding behind my hands – one out of sheer embarrassment, one because of sheer gross-out factor. And while I would be loathe to have taken either scene out of the movie, part of me wishes the latter could be wiped from my memory! And that brings me to a warning: you need to know what type of movie this is before you go. This is not Steel Magnolias. This is not a film to take your grandmother to (unless your grandmother happens to be Betty White). I’m going to recommend this movie – don’t come crying to me if you see it on that recommendation and it grosses you out.
In the end, Bridesmaids is sweet, funny and a little sickening. It’s certainly formulaic but manages to outshine most comedies of the last couple of years with sheer sass. You may have to drag your male significant other (I didn’t succeed on that front), but I doubt they will regret it. And Kristen Wiig – oh my, what a joy. Let’s just say I have a new lesbian crush. Oh, and there are yawning puppies – there is simply nothing cuter on earth.
-----------------------------
13-Year-Old Girl in Jewellery Store: You're weird.
Annie: I'm not weird. OK?
13-Year-Old Girl: Yes, you are.
Annie: No, I'm not! And you started it.
13-Year-Old Girl: No, you started it! Did you forget to take your Zanax this morning?
Annie: Oh, I feel sorry for your parents.
13-Year-Old Girl: I feel sorry for your face.
Dir. Paul Feig
Scr. Kristen Wiig & Annie Mumolo
Bridesmaids has been labelled the female Hangover. And it’s not a bad comparison – there is complete inappropriateness that will make you shake your head at your own laughter, an element of the crude and many memorable moments (good and bad). For my money, Bridesmaids is better written with sharper dialogue (thanks largely, I suspect, to the brilliant Wiig), though twenty minutes could have easily been shaved off to make the movie more evenly paced. Simply put, you will know whether you’re the type of movie-goer that will want to spend $15 on a film such as this. I certainly wasn’t disappointed.
Bridesmaids is about a wedding, that’s a no-brainer, and a maid of honour struggling to do right by her best friend. Annie (Wiig) is disastrously unlucky in love and, when asked by Lillian (Rudolph) to be her maid of honour, has an immediate hot flush. Not a great start. And, believe me, it all gets a whole lot worse. From food poisoning to being kicked off a flight to freaking out at the bridal shower, Annie is not cut out for the job. Her arch nemesis, Johnny-come-lately friend Helen (Byrne), outdoes her at every turn and Annie is stripped of her maid of honour title. I’m sure I’m not spoiling the ending by saying everything turns out for the best, but not without some soul-searching, a new beau (O’Dowd) and some brilliant life coaching from fellow bridesmaid Megan (the wonderful McCarthy).
Wiig is undoubtedly the star of the show. A Saturday Night Live veteran, Wiig has finally been given a high profile vehicle all of her own. And it’s about time. She has a Meg Ryan/Cameron Diaz quality to her – loveable and goofy. She walks a fine line in this film – the character of Annie is very close to being completely unlikeable, but Wiig’s comic skills and persona make you root for her despite all her misdemeanours. I imagine most women can, in our own way, relate to Annie. She is a wonderfully written character, warts and all. Wiig has surrounded herself with a stellar and sometimes surprising cast. The fellow bridesmaids & bride are an eclectic bunch, played by some very funny actresses. McCarthy is particularly memorable, but they are all wonderful in their way. A key to the success of the story is the relationship between Annie and Lillian and this is played out with touching authenticity. O’Dowd, as Annie’s love interest Nathan, is simply adorable and quirky. An uncredited Hamm, of Mad Men fame, gives a brilliant turn as Annie’s love dis-interest. Turns from Matt Lucas and even Wilson Phillips makes Bridesmaids, at times, a little surreal.
Bridesmaids falls flat a little in the middle and I think it could have easily shed a few scenes without affecting the story. But it never takes long to get you back on board and, invariably, laughing or cringing again. There were two particularly cringe-worthy scenes, during both of which I was hiding behind my hands – one out of sheer embarrassment, one because of sheer gross-out factor. And while I would be loathe to have taken either scene out of the movie, part of me wishes the latter could be wiped from my memory! And that brings me to a warning: you need to know what type of movie this is before you go. This is not Steel Magnolias. This is not a film to take your grandmother to (unless your grandmother happens to be Betty White). I’m going to recommend this movie – don’t come crying to me if you see it on that recommendation and it grosses you out.
In the end, Bridesmaids is sweet, funny and a little sickening. It’s certainly formulaic but manages to outshine most comedies of the last couple of years with sheer sass. You may have to drag your male significant other (I didn’t succeed on that front), but I doubt they will regret it. And Kristen Wiig – oh my, what a joy. Let’s just say I have a new lesbian crush. Oh, and there are yawning puppies – there is simply nothing cuter on earth.
-----------------------------
13-Year-Old Girl in Jewellery Store: You're weird.
Annie: I'm not weird. OK?
13-Year-Old Girl: Yes, you are.
Annie: No, I'm not! And you started it.
13-Year-Old Girl: No, you started it! Did you forget to take your Zanax this morning?
Annie: Oh, I feel sorry for your parents.
13-Year-Old Girl: I feel sorry for your face.
Sunday, June 12, 2011
Super 8
Joel Courtney, Elle Fanning, Kyle Chandler, Ron Eldard, Riley Griffins, Ryan Lee
Dir. JJ Abrams
Scr. JJ Abrams
Super 8 is a movie that, simply put, gets it. JJ Abrams gets that you have to make the audience care about your characters. He gets that sweetness and humour can go hand-in-hand with explosions and terror. He gets that kids don’t have to be toxic to a film as long as you just let them be kids. Sure, Super 8 is a throwback to the heyday of 1970s cinema, where the likes of Spielberg and Lucas were making groundbreaking films for the whole family. But it’s not a carbon copy. And while it’s certainly corny and perhaps a little clichéd, it’s also wonderfully compelling, truly frightening and completely endearing. Only the most cynical moviegoer will not be moved and entertained.
It’s the late 1970s in small town USA and a group of pre-teen boys embark on a summer of zombie movie-making hijinks. While filming, the friends witness an odd and truly terrifying train crash – what turns out to be an Air Force train carrying who knows what. Strange happenings and mysterious disappearances become disturbingly commonplace and the kids, along with the Deputy Sheriff, investigate just what was on the train and what secret the Air Force seem to be so intent on keeping. This is, of course, a sci-fi flick. But don’t let that put you off if you’re not that way inclined. There is much more to this story than an angry alien.
This movie would have undoubtedly fallen flat on its face if it wasn’t stacked with some very fine performances. What is surprising is that while there are a couple of very important adult characters, Super 8’s heart and soul is its young cast who truly carry this film. I can’t fault any of the performances, but special mention must go to Joel Courtney (who plays the Deputy’s son Joe Lamb and is the star of the show) and Elle Fanning (Alice). They are simply brilliant – at times, wise beyond their years as kids sometimes are; at other times, we are reminded they are truly vulnerable. There is a humour that is very real to their age – silly but not crude, naïve but not dumb. Without laying it on too thickly, Abrams manages to make us care very deeply for these kids. Beyond just wanting to protect them because they are young. Cleverly, the filmmakers chose not to put a big name actor in any of the adult roles. A Tom Cruise or even a Jeff Bridges would have almost certainly changed the dynamic of this film. And not in a good way. Instead we have Chandler (Joe’s father) and Eldard (Alice’s father), two faces you may recognise but won’t distract. Both give wonderful performances as solo parents struggling with their own inner demons.
The special effects in Super 8, as you might expect in this day and age, are very good indeed. The train crash is one of the loudest and scariest action scenes you are likely to see for a while. But beyond wanting to make sure he has your full attention, Abrams’ goal is surely to make sure you realise this sleepy wee town will never be the same again. The alien, once we get a real good look (which, cleverly, is not for quite some time), is suitably creepy and frightening.
You’re going to read a lot about Super 8 being a cross between ET and Close Encounters of the Third Kind and Stand by Me and The Goonies and whatever else. And while Abrams is clearly playing homage to the films that inspired him, we should not forget there is a generation of kids out there who are looking for their very own ET. Maybe it’s Transformers or Harry Potter. But I certainly hope more than a few of them see Super 8 and leave the cinema with the same sense of wonder that I did.
----------------------------
Jack Lamb: The Air Force isn't answering a damn question - they're looking for something.
Dir. JJ Abrams
Scr. JJ Abrams
Super 8 is a movie that, simply put, gets it. JJ Abrams gets that you have to make the audience care about your characters. He gets that sweetness and humour can go hand-in-hand with explosions and terror. He gets that kids don’t have to be toxic to a film as long as you just let them be kids. Sure, Super 8 is a throwback to the heyday of 1970s cinema, where the likes of Spielberg and Lucas were making groundbreaking films for the whole family. But it’s not a carbon copy. And while it’s certainly corny and perhaps a little clichéd, it’s also wonderfully compelling, truly frightening and completely endearing. Only the most cynical moviegoer will not be moved and entertained.
It’s the late 1970s in small town USA and a group of pre-teen boys embark on a summer of zombie movie-making hijinks. While filming, the friends witness an odd and truly terrifying train crash – what turns out to be an Air Force train carrying who knows what. Strange happenings and mysterious disappearances become disturbingly commonplace and the kids, along with the Deputy Sheriff, investigate just what was on the train and what secret the Air Force seem to be so intent on keeping. This is, of course, a sci-fi flick. But don’t let that put you off if you’re not that way inclined. There is much more to this story than an angry alien.
This movie would have undoubtedly fallen flat on its face if it wasn’t stacked with some very fine performances. What is surprising is that while there are a couple of very important adult characters, Super 8’s heart and soul is its young cast who truly carry this film. I can’t fault any of the performances, but special mention must go to Joel Courtney (who plays the Deputy’s son Joe Lamb and is the star of the show) and Elle Fanning (Alice). They are simply brilliant – at times, wise beyond their years as kids sometimes are; at other times, we are reminded they are truly vulnerable. There is a humour that is very real to their age – silly but not crude, naïve but not dumb. Without laying it on too thickly, Abrams manages to make us care very deeply for these kids. Beyond just wanting to protect them because they are young. Cleverly, the filmmakers chose not to put a big name actor in any of the adult roles. A Tom Cruise or even a Jeff Bridges would have almost certainly changed the dynamic of this film. And not in a good way. Instead we have Chandler (Joe’s father) and Eldard (Alice’s father), two faces you may recognise but won’t distract. Both give wonderful performances as solo parents struggling with their own inner demons.
The special effects in Super 8, as you might expect in this day and age, are very good indeed. The train crash is one of the loudest and scariest action scenes you are likely to see for a while. But beyond wanting to make sure he has your full attention, Abrams’ goal is surely to make sure you realise this sleepy wee town will never be the same again. The alien, once we get a real good look (which, cleverly, is not for quite some time), is suitably creepy and frightening.
You’re going to read a lot about Super 8 being a cross between ET and Close Encounters of the Third Kind and Stand by Me and The Goonies and whatever else. And while Abrams is clearly playing homage to the films that inspired him, we should not forget there is a generation of kids out there who are looking for their very own ET. Maybe it’s Transformers or Harry Potter. But I certainly hope more than a few of them see Super 8 and leave the cinema with the same sense of wonder that I did.
----------------------------
Jack Lamb: The Air Force isn't answering a damn question - they're looking for something.
Monday, June 6, 2011
X Men: First Class
James McAvoy, Michael Fassbender, Kevin Bacon, January Jones, Rose Byrne, Jennifer Lawrence, Nicholas Hoult, Oliver Platt
Dir. Matthew Vaugh
Scr. Matthew Vaugh, Ashley Miller, Zack Stentz & Jane Goldman
It was exciting. It had explosions. It was smart and funny. It had some emotional grunt. I’ll go as far as to say it’s the best comic book action flick since Dark Knight. X Men: First Class – part one of a prequel trilogy – has the potential to outclass the original trilogy of X Men movies and make a tremendous addition to the ever-growing comic book action genre. Two big thumbs up from me.
Before Professor X and Magneto were Professor X and Magneto, they were Charles (McAvoy) and Erik (Fassbender), two mutants who think they are all alone with their powers. Against a backdrop of the Cuban missile crisis, they forge a friendship to help the world avoid the very real nuclear threat and, with the help of the CIA, find and recruit others like themselves. The uber-baddie here is wonderfully bad – Kevin Bacon hams it up in his role as the evil mutant genius (Sebastian Shaw) hell bent on helping the super powers destroy mankind to make way for his utopia of mutantkind. Throw in a little wartime Poland, a smattering of civil rights and a whole lot of mutant self-discovery, and you have a very compelling and intriguing film. Full credit to the team of screenwriters (including the brilliant Jane Goldman) who took on a huge amount of material to pack into two-hour-plus movie.
This wonderful new direction of smart comic book action movies ultimately needs a cast of credible actors. Hence the Christian Bales, Robert Downey Jnrs and, in the original X Men, the Patrick Stewarts and Gandalfs. First Class is no different. McAvoy and Fassbender are brilliant, the latter especially. And such an interesting choice. Along with Jennifer Lawrence (in the role of Mystique), Fassbender is certainly not of the typical action genre stock. But there’s no doubt he has the necessary gravitas and the acting chops and, for me, he is certainly the stand out. I teared up twice, both thanks largely to Fassbender, which is not a usual occurrence for the viewer of a comic book-inspired flick. McAvoy is charming and yummy, if somewhat annoying (but that’s certainly the character). It’s a treat to see a younger incarnation of the Professor – shamelessly hitting on anything in a skirt with his nerdy knowledge of genes and mutations. If these two characters/actors hadn’t gelled then you would have had a disaster on your hands. Thank the casting gods for such good fortune. The only stand out for all the wrong reasons is January Jones (as Emma Frost) – wooden and boring, but thankfully not onscreen enough to be too problematic. The always wonderful Oliver Platt (Man in Black) and the lovely Ross Byrne (Moira MacTaggert) are the main non-mutant additions and they are delightful. And keep your eyes open for an inspired and hilarious cameo from a mutant favourite.
This movie looks mighty good. With enough big bang action set-pieces to keep the audience on their toes, as well as more intimate and emotional action scenes (young Erik distressed at hands of the Nazis and a coin through the head are two that particularly stand out). Special effects are flawless. The 1960s is captured with flair. I can’t think of anything to fault in terms of this film’s look and feel – nothing distracted me from the story, which moved along at quite a clip.
The only one of the X Men family of films that I would recommend to an action movie sceptic, this is a film on fine form. There is a lot going on but don’t let that put you off. And sure, you may know what eventually happens in the end, but you’ll have a rollercoaster of a time getting there.
---------------------------
Charles: We have it in us to be the better man.
Erik: We already are.
Dir. Matthew Vaugh
Scr. Matthew Vaugh, Ashley Miller, Zack Stentz & Jane Goldman
It was exciting. It had explosions. It was smart and funny. It had some emotional grunt. I’ll go as far as to say it’s the best comic book action flick since Dark Knight. X Men: First Class – part one of a prequel trilogy – has the potential to outclass the original trilogy of X Men movies and make a tremendous addition to the ever-growing comic book action genre. Two big thumbs up from me.
Before Professor X and Magneto were Professor X and Magneto, they were Charles (McAvoy) and Erik (Fassbender), two mutants who think they are all alone with their powers. Against a backdrop of the Cuban missile crisis, they forge a friendship to help the world avoid the very real nuclear threat and, with the help of the CIA, find and recruit others like themselves. The uber-baddie here is wonderfully bad – Kevin Bacon hams it up in his role as the evil mutant genius (Sebastian Shaw) hell bent on helping the super powers destroy mankind to make way for his utopia of mutantkind. Throw in a little wartime Poland, a smattering of civil rights and a whole lot of mutant self-discovery, and you have a very compelling and intriguing film. Full credit to the team of screenwriters (including the brilliant Jane Goldman) who took on a huge amount of material to pack into two-hour-plus movie.
This wonderful new direction of smart comic book action movies ultimately needs a cast of credible actors. Hence the Christian Bales, Robert Downey Jnrs and, in the original X Men, the Patrick Stewarts and Gandalfs. First Class is no different. McAvoy and Fassbender are brilliant, the latter especially. And such an interesting choice. Along with Jennifer Lawrence (in the role of Mystique), Fassbender is certainly not of the typical action genre stock. But there’s no doubt he has the necessary gravitas and the acting chops and, for me, he is certainly the stand out. I teared up twice, both thanks largely to Fassbender, which is not a usual occurrence for the viewer of a comic book-inspired flick. McAvoy is charming and yummy, if somewhat annoying (but that’s certainly the character). It’s a treat to see a younger incarnation of the Professor – shamelessly hitting on anything in a skirt with his nerdy knowledge of genes and mutations. If these two characters/actors hadn’t gelled then you would have had a disaster on your hands. Thank the casting gods for such good fortune. The only stand out for all the wrong reasons is January Jones (as Emma Frost) – wooden and boring, but thankfully not onscreen enough to be too problematic. The always wonderful Oliver Platt (Man in Black) and the lovely Ross Byrne (Moira MacTaggert) are the main non-mutant additions and they are delightful. And keep your eyes open for an inspired and hilarious cameo from a mutant favourite.
This movie looks mighty good. With enough big bang action set-pieces to keep the audience on their toes, as well as more intimate and emotional action scenes (young Erik distressed at hands of the Nazis and a coin through the head are two that particularly stand out). Special effects are flawless. The 1960s is captured with flair. I can’t think of anything to fault in terms of this film’s look and feel – nothing distracted me from the story, which moved along at quite a clip.
The only one of the X Men family of films that I would recommend to an action movie sceptic, this is a film on fine form. There is a lot going on but don’t let that put you off. And sure, you may know what eventually happens in the end, but you’ll have a rollercoaster of a time getting there.
---------------------------
Charles: We have it in us to be the better man.
Erik: We already are.
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