Johnny Depp, Penelope Cruz, Geoffrey Rush, Ian McShane
Dir. Rob Marshall
Scr. Ted Elliott & Terry Rossio
There’s not a great deal to say really. It is what it is. A mixed bag. Fun, mildly amusing, frustrating, clichéd, lacking in chemistry, with a great deal of swagger and a couple of lovely wee cameos thrown in. I remain of the view that they should have retired the Pirates franchise long before this film, but I understand why they don’t. And, here I am, proving them right. Will I always go along to a new Pirates of the Caribbean film? As long as Johnny Depp is on board, damn straight I will. And that’s why Captain Jack Sparrow will go down as one of the greatest characters of a generation.
-------------------------
Barbossa: Gentlemen, the fountain is the prize. Mermaid waters, that be our path.
Sunday, May 29, 2011
Sunday, May 22, 2011
Source Code
Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright
Dir. Duncan Jones
Scr. Ben Ripley
I’ll say from the outset, honestly and openly, that this movie doesn’t really make sense and the ending is naff in the extreme. But, you know what, I simply didn’t care. This is a well-crafted, tense, nicely paced sci-fi film, complete with heart and humour. It achieves intimacy amongst immense chaos – no easy feat. I highly recommend.
Source Code tells the tale (a heart-wrenching tale, in the end) of army helicopter pilot Captain Colter Stevens (Gyllenhaal) who awakes to find himself on a train in the body of another man. Eight minutes later, the train explodes spectacularly and he awakes again to find himself in a steel pod, dazed and confused. We learn that Stevens is part of an experiment called “Source Code” and he is soon sent back to the start of that eight minutes to find the bomber and help prevent another imminent attack. And again. And again. And again. Through these eight minute stints we learn more and more about Stevens and his condition, about the others on the train, about the terrorist plot and about “Source Code”.
Director Duncan Jones is somewhat of the new whiz-kid on the sci-fi movie block. His movie Moon (see my Top Ten of 2009 - http://theflicks.blogspot.com/2009/12/my-usual-disclaimers-these-are-films-i.html) was an instant classic. And while Source Code is not really in that league, he achieves the same peculiar and surprising intimacy, so often lacking in big budget action films.
The core cast here is small, really just three key players. Also, I would argue, a little unusual. They are all excellent. Monaghan plays Christina, the love interest on the train. She is compassionate and appealing and surprisingly nuanced – after all, she is playing the same eight minutes repeatedly. Farmiga is very good indeed as Goodwin, the main face of “Source Code” for Stevens. I don’t generally love Gyllenhaal, but he is pretty darn good here. It is an extreme emotional and physical rollercoaster for his character and he rolls well with the punches.
If you’re a fan of action sci-fi, I think this film will keep you enthralled. But it’s more than that and, I suspect, will appeal to a wider audience. And if you duck out a couple of minutes before the end, well, it’s probably an even better film.
-----------------------------------
Dr Rutledge: This is not time travel. This is time re-assignment.
Dir. Duncan Jones
Scr. Ben Ripley
I’ll say from the outset, honestly and openly, that this movie doesn’t really make sense and the ending is naff in the extreme. But, you know what, I simply didn’t care. This is a well-crafted, tense, nicely paced sci-fi film, complete with heart and humour. It achieves intimacy amongst immense chaos – no easy feat. I highly recommend.
Source Code tells the tale (a heart-wrenching tale, in the end) of army helicopter pilot Captain Colter Stevens (Gyllenhaal) who awakes to find himself on a train in the body of another man. Eight minutes later, the train explodes spectacularly and he awakes again to find himself in a steel pod, dazed and confused. We learn that Stevens is part of an experiment called “Source Code” and he is soon sent back to the start of that eight minutes to find the bomber and help prevent another imminent attack. And again. And again. And again. Through these eight minute stints we learn more and more about Stevens and his condition, about the others on the train, about the terrorist plot and about “Source Code”.
Director Duncan Jones is somewhat of the new whiz-kid on the sci-fi movie block. His movie Moon (see my Top Ten of 2009 - http://theflicks.blogspot.com/2009/12/my-usual-disclaimers-these-are-films-i.html) was an instant classic. And while Source Code is not really in that league, he achieves the same peculiar and surprising intimacy, so often lacking in big budget action films.
The core cast here is small, really just three key players. Also, I would argue, a little unusual. They are all excellent. Monaghan plays Christina, the love interest on the train. She is compassionate and appealing and surprisingly nuanced – after all, she is playing the same eight minutes repeatedly. Farmiga is very good indeed as Goodwin, the main face of “Source Code” for Stevens. I don’t generally love Gyllenhaal, but he is pretty darn good here. It is an extreme emotional and physical rollercoaster for his character and he rolls well with the punches.
If you’re a fan of action sci-fi, I think this film will keep you enthralled. But it’s more than that and, I suspect, will appeal to a wider audience. And if you duck out a couple of minutes before the end, well, it’s probably an even better film.
-----------------------------------
Dr Rutledge: This is not time travel. This is time re-assignment.
Monday, April 18, 2011
Paul
Simon Pegg, Nick Frost, Jason Bateman, Kristen Wiig, Bill Hader, Joe Lo Trugilo, Seth Rogen (voice)
Dir. Greg Mottola
Scr. Simon Pegg & Nick Frost
I loved hanging out with Pegg and Frost again. I loved Paul the Alien. I loved the scenery and the feel and the sci-fi in-jokes and Jason Bateman (he’s so yummy). But I didn’t love this movie. When you start with the brilliantly awesome Shaun of the Dead, perhaps you can only go downhill? But Paul is certainly worth a viewing, especially for those who love probe jokes … you know who you are.
Paul reunites Simon Pegg and Nick Frost as Graeme Willy (Pegg) and Clive Gollings (Frost), two English sci-fi nerds who make a pilgrimage to America’s UFO heartland. On the way they meet Paul, an alien who has been on earth for 60 years, sharing his knowledge with humankind. Paul realises he’s been less a guest of government and more a prisoner, when the powers-that-be decide a living, breathing Paul has served his purpose and they want to go all alien-autopsy on him. So he’s phoned home and enlists the help of Graeme and Clive to get him to his spaceship. Sounds simple? Well, not quite. Paul, Graeme and Clive are pursued by some Men in Black (Bateman, Hader and Trugilo), as well as a crazed fundamentalist Christian, father of the travelling trio’s accidental kidnapee. Brilliant.
A couple of “thumbs up” I have to mention. First, to the wonderful Sigourney Weaver, who plays The Big Guy, intent on Paul’s capture and Graeme and Clive’s demise. It’s not exactly a spoiler – her voice is heard on multiple occasions before she appears at the end and what kind of sci-fi fan would you be if you didn’t recognise Ripley’s sultry tones? Second, a lovely cameo by the Sci-Fi King himself – Steven Spielberg.
The cast of Paul is incredibly fun to spend 100-odd minutes with. Clichés abound, sure, and there are some pretty hammy performances, but it all fits nicely. Pegg and Frost are sublime and lovely, as usual. Bateman is wonderfully hard-arse. And did I mention he’s yummy? Hader and Trugilo are ridiculously silly. Wiig is incredibly funny. The show here, however, really does belong to Rogen and his little green incarnation. Paul is a wonderful character and I imagine was a joy to write. It’s clear from Rogen’s performance that he was a joy to play as well. Paul is uneven at times and there are just a few too many probe jokes.
I couldn’t help but wish that this film was funnier, which is a pretty fatal flaw in a comedy. Unfairly perhaps, this movie suffers from comparison syndrome. It is not as sharp or clever or funny as Shaun of the Dead or Hot Fuzz – clearly lacking the amazing Edgar Wright as director/co-writer. So it would certainly get a bronze in my imaginary medal ceremony for Pegg/Frost films. As a stand-alone film, which is what Paul is, I would recommend this movie to lovers of the sci-fi genre and people who like a bit of silliness in their cinematic outing. But, if you’re as big a Spaced/Shaun/Fuzz fan as me, don’t expect too much.
--------------------------
Graeme: You are an alien!
Paul: To you I am, yes.
Graeme: Are you gonna probe us?
Paul: Why does everyone always assume that? What am I doing? Am I harvesting farts? How much can I learn from an ass?
Dir. Greg Mottola
Scr. Simon Pegg & Nick Frost
I loved hanging out with Pegg and Frost again. I loved Paul the Alien. I loved the scenery and the feel and the sci-fi in-jokes and Jason Bateman (he’s so yummy). But I didn’t love this movie. When you start with the brilliantly awesome Shaun of the Dead, perhaps you can only go downhill? But Paul is certainly worth a viewing, especially for those who love probe jokes … you know who you are.
Paul reunites Simon Pegg and Nick Frost as Graeme Willy (Pegg) and Clive Gollings (Frost), two English sci-fi nerds who make a pilgrimage to America’s UFO heartland. On the way they meet Paul, an alien who has been on earth for 60 years, sharing his knowledge with humankind. Paul realises he’s been less a guest of government and more a prisoner, when the powers-that-be decide a living, breathing Paul has served his purpose and they want to go all alien-autopsy on him. So he’s phoned home and enlists the help of Graeme and Clive to get him to his spaceship. Sounds simple? Well, not quite. Paul, Graeme and Clive are pursued by some Men in Black (Bateman, Hader and Trugilo), as well as a crazed fundamentalist Christian, father of the travelling trio’s accidental kidnapee. Brilliant.
A couple of “thumbs up” I have to mention. First, to the wonderful Sigourney Weaver, who plays The Big Guy, intent on Paul’s capture and Graeme and Clive’s demise. It’s not exactly a spoiler – her voice is heard on multiple occasions before she appears at the end and what kind of sci-fi fan would you be if you didn’t recognise Ripley’s sultry tones? Second, a lovely cameo by the Sci-Fi King himself – Steven Spielberg.
The cast of Paul is incredibly fun to spend 100-odd minutes with. Clichés abound, sure, and there are some pretty hammy performances, but it all fits nicely. Pegg and Frost are sublime and lovely, as usual. Bateman is wonderfully hard-arse. And did I mention he’s yummy? Hader and Trugilo are ridiculously silly. Wiig is incredibly funny. The show here, however, really does belong to Rogen and his little green incarnation. Paul is a wonderful character and I imagine was a joy to write. It’s clear from Rogen’s performance that he was a joy to play as well. Paul is uneven at times and there are just a few too many probe jokes.
I couldn’t help but wish that this film was funnier, which is a pretty fatal flaw in a comedy. Unfairly perhaps, this movie suffers from comparison syndrome. It is not as sharp or clever or funny as Shaun of the Dead or Hot Fuzz – clearly lacking the amazing Edgar Wright as director/co-writer. So it would certainly get a bronze in my imaginary medal ceremony for Pegg/Frost films. As a stand-alone film, which is what Paul is, I would recommend this movie to lovers of the sci-fi genre and people who like a bit of silliness in their cinematic outing. But, if you’re as big a Spaced/Shaun/Fuzz fan as me, don’t expect too much.
--------------------------
Graeme: You are an alien!
Paul: To you I am, yes.
Graeme: Are you gonna probe us?
Paul: Why does everyone always assume that? What am I doing? Am I harvesting farts? How much can I learn from an ass?
Monday, March 14, 2011
Love Birds
Rhys Darby, Sally Hawkins, Emily Barclay, Bryan Brown
Dir. Paul Murphy
Scr. Nick Ward
Thanks to some real cinematic gems that have come out of New Zealand over the last few years, I’ve really come to expect a lot of Kiwi films. Which is maybe why Love Birds fell flat for me – a boring, slightly random (and not in a good way) romantic comedy with some clunky acting and predictable plot. And I rarely laughed which, for me, was truly disappointing.
Love Birds tells the story of Doug (Darby), a happy-with-his-lot-in-life sort of guy transformed into a down-on-his-luck sort of guy after being dumped by his girlfriend. Doug, in a random twist of fate, discovers an injured duck on his roof. Attempts to give it to the zoo, a vet, a home for ducks all fail and Doug names it Pierre and decides to nurse it back to health. Both without a partner, they find a strange but sweet solace in each other. In his man-with-duck adventures he meets Holly (Hawkins), a bird expert at the Auckland Zoo and romance blossoms. Complete with complications, of course, which include her slightly creepy son, his ex-girlfriend and, unsurprisingly, Pierre.
There is a warmth to Love Birds which is certainly lacking in many romantic comedies to come out of Hollywood (which can too often be mean) or the UK (which can too often be depressing). But, unfortunately, warmth doesn’t necessarily grab an audience and I found myself tuning out. Some of the acting on offer here is good, some terrible. Bryan Brown is wasted in a short but just too crazy role as vet, Dr Buster. He simply grates. Faye Smyth, as Doug’s ex Susan, is just plain bad. And the kids that appear are not endearing or sweet or cute, just awful. Darby himself is a mixed bag, at times wooden and at times wonderful. I am a big fan of his stand-up and his Flight of the Conchords role, but he struggles to carry this film as a leading man should. Barclay, as fellow zoo worker and man crazy Brenda, is sweet and funny and really does shine. But it is Brit Hawkins who is all class and shows she’s a cut above the rest.
Love Birds really makes the most of its surrounds and showcases some very attractive parts of Auckland indeed. A great soundtrack, dominated by Doug’s favourite band Queen, also lends a pleasing air of familiarity to the film.
Overall, I guess Love Birds is a light, warm story of love and friendship. But this simply wasn’t enough and, coupled with a clichéd plot and some cringe-worthy acting, this Kiwi flick was disappointing. If you want to see a recent gem from New Zealand, I suggest you watch Boy.
Dir. Paul Murphy
Scr. Nick Ward
Thanks to some real cinematic gems that have come out of New Zealand over the last few years, I’ve really come to expect a lot of Kiwi films. Which is maybe why Love Birds fell flat for me – a boring, slightly random (and not in a good way) romantic comedy with some clunky acting and predictable plot. And I rarely laughed which, for me, was truly disappointing.
Love Birds tells the story of Doug (Darby), a happy-with-his-lot-in-life sort of guy transformed into a down-on-his-luck sort of guy after being dumped by his girlfriend. Doug, in a random twist of fate, discovers an injured duck on his roof. Attempts to give it to the zoo, a vet, a home for ducks all fail and Doug names it Pierre and decides to nurse it back to health. Both without a partner, they find a strange but sweet solace in each other. In his man-with-duck adventures he meets Holly (Hawkins), a bird expert at the Auckland Zoo and romance blossoms. Complete with complications, of course, which include her slightly creepy son, his ex-girlfriend and, unsurprisingly, Pierre.
There is a warmth to Love Birds which is certainly lacking in many romantic comedies to come out of Hollywood (which can too often be mean) or the UK (which can too often be depressing). But, unfortunately, warmth doesn’t necessarily grab an audience and I found myself tuning out. Some of the acting on offer here is good, some terrible. Bryan Brown is wasted in a short but just too crazy role as vet, Dr Buster. He simply grates. Faye Smyth, as Doug’s ex Susan, is just plain bad. And the kids that appear are not endearing or sweet or cute, just awful. Darby himself is a mixed bag, at times wooden and at times wonderful. I am a big fan of his stand-up and his Flight of the Conchords role, but he struggles to carry this film as a leading man should. Barclay, as fellow zoo worker and man crazy Brenda, is sweet and funny and really does shine. But it is Brit Hawkins who is all class and shows she’s a cut above the rest.
Love Birds really makes the most of its surrounds and showcases some very attractive parts of Auckland indeed. A great soundtrack, dominated by Doug’s favourite band Queen, also lends a pleasing air of familiarity to the film.
Overall, I guess Love Birds is a light, warm story of love and friendship. But this simply wasn’t enough and, coupled with a clichéd plot and some cringe-worthy acting, this Kiwi flick was disappointing. If you want to see a recent gem from New Zealand, I suggest you watch Boy.
Sunday, March 6, 2011
The Adjustment Bureau
Matt Damon, Emily Blunt, Terrence Stamp, Anthony Mackie, John Slattery
Dir. George Nolfi
Scr. George Nolfi (based on short story by Philip K Dick)
Possessed of the worst title of 2011 thus far, The Adjustment Bureau is an entertaining flick. But rocket science, it ain’t. Thanks largely to the performances of Damon and Blunt and their sizzling on-screen chemistry, this film is worth a look … but just don’t look too hard.
Matt Damon plays Congressman David Norris who, after an unsuccessful campaign to become a New York Senator, has his world turned upside down and inside out by a beautiful stranger (Elise) and a bunch of very mysterious, hat-wearing strangers. These hat-wearing, 50s throw-back “agents” of fate conspire to keep Norris and Elise (Blunt) apart, in an effort to keep Norris on his destined plan or path in life. Give her up or lose everything, that’s the ultimatum. Without giving too much away, the real guts of this film is whether to accept your fate or change your destiny. Whether you have the power to make that change at all or whether predetermined choices made by higher powers makes free will a farce. Hats are also very important, trust me.
Some will find this film silly. And it has its ridiculous moments, that’s for sure. You’ll need to suspend your disbelief a pretty darn long way. It lacks some key elements that you might expect from a typical thriller – a baddie, a watertight plot, believability. But if you’re prepared to just go along for the ride and not worry too much about everything fitting neatly together, well you might just have a grand time. Because there is a lot to like about The Adjustment Bureau.
You’ve got two great leads. Damon is wonderfully charismatic but also nicely vulnerable. He’s also got his share of Bourne moments – mostly running incredibly fast which he is very good at indeed. For my money, he’s the most bankable leading man in Hollywood today. Blunt is beautiful and spunky and enchanting. Together, sparks fly in a pleasing way. I have not witnessed such easy on-screen chemistry in quite some time. There is humour, mostly intentional, sometimes not. There is a sense, most of the time, that you’re in on the joke and the filmmakers are not taking themselves too seriously. Until it gets very serious in the final act, which is where this film falters. The special effects are minimal and subtle, making them very effective. The source material for this film dates back to the 1950s and you can tell. But this lends the film a charm rather than making it dated and we are always acutely aware this is modern-day New York.
The Adjustment Bureau is an odd film to categorise. Sure, on its surface, it’s a thriller. But it’s also science fiction or even fantasy, depending on your world view. Where it works best however is as a romance – Damon and Blunt’s chemistry will make you smile and hope that, in the end, love truly conquers all.
Dir. George Nolfi
Scr. George Nolfi (based on short story by Philip K Dick)
Possessed of the worst title of 2011 thus far, The Adjustment Bureau is an entertaining flick. But rocket science, it ain’t. Thanks largely to the performances of Damon and Blunt and their sizzling on-screen chemistry, this film is worth a look … but just don’t look too hard.
Matt Damon plays Congressman David Norris who, after an unsuccessful campaign to become a New York Senator, has his world turned upside down and inside out by a beautiful stranger (Elise) and a bunch of very mysterious, hat-wearing strangers. These hat-wearing, 50s throw-back “agents” of fate conspire to keep Norris and Elise (Blunt) apart, in an effort to keep Norris on his destined plan or path in life. Give her up or lose everything, that’s the ultimatum. Without giving too much away, the real guts of this film is whether to accept your fate or change your destiny. Whether you have the power to make that change at all or whether predetermined choices made by higher powers makes free will a farce. Hats are also very important, trust me.
Some will find this film silly. And it has its ridiculous moments, that’s for sure. You’ll need to suspend your disbelief a pretty darn long way. It lacks some key elements that you might expect from a typical thriller – a baddie, a watertight plot, believability. But if you’re prepared to just go along for the ride and not worry too much about everything fitting neatly together, well you might just have a grand time. Because there is a lot to like about The Adjustment Bureau.
You’ve got two great leads. Damon is wonderfully charismatic but also nicely vulnerable. He’s also got his share of Bourne moments – mostly running incredibly fast which he is very good at indeed. For my money, he’s the most bankable leading man in Hollywood today. Blunt is beautiful and spunky and enchanting. Together, sparks fly in a pleasing way. I have not witnessed such easy on-screen chemistry in quite some time. There is humour, mostly intentional, sometimes not. There is a sense, most of the time, that you’re in on the joke and the filmmakers are not taking themselves too seriously. Until it gets very serious in the final act, which is where this film falters. The special effects are minimal and subtle, making them very effective. The source material for this film dates back to the 1950s and you can tell. But this lends the film a charm rather than making it dated and we are always acutely aware this is modern-day New York.
The Adjustment Bureau is an odd film to categorise. Sure, on its surface, it’s a thriller. But it’s also science fiction or even fantasy, depending on your world view. Where it works best however is as a romance – Damon and Blunt’s chemistry will make you smile and hope that, in the end, love truly conquers all.
Sunday, February 27, 2011
127 Hours
James Franco, Kate Mara, Amber Tamblyn
Dir. Danny Boyle
Scr. Danny Boyle & Simon Beaufoy (based on “Between a Rock & a Hard Place” by Aron Ralston)
This movie is less a film about some guy who got trapped, and more an experience. And a gut-wrenching one at that. James Franco does a stellar job in carrying this film and Danny Boyle truly takes us on an emotional and often uncomfortable journey. This is daring film-making at its best.
127 Hours dramatises the true life story of Aron Ralston (Franco), a gung-ho adventurer who, while canyoneering in Utah, becomes trapped by a falling rock. Pinned by his right arm, Aron uses all his boy-scout powers to try and free himself, spending a total of 127 hours with very little water or food and unsure of whether he will survive. Through hallucinations, flash-backs and recordings Aron makes on his trusty camcorder, we get a picture of a man and his life and his regrets. In the end, he does what you might think impossible – breaks and cuts his own arm off in order to get free.
I cannot begin to imagine what Aron’s real life experience was actually like, but the real Ralston was heavily involved in this production and has said that the film was so factually accurate that it’s as close to a documentary as you can get and still be a drama. It’s reassuring that Boyle and co have not taken too many liberties. And testament to Ralston’s actual experience that this film keeps you riveted for the entire journey. Basically, after all, we’re watching a man stuck in a cave. And, for me, this is in no small part due to Franco’s performance, which is truly deserving of his Oscar nomination. Franco has always struck me as a bit of a lightweight, good at stoner dude roles. And because he is unassuming in this way, his performance really does take you by surprise. Which is just as well – without a strong lead, this film would have been simply unwatchable.
As it is, there were five minutes that, for me, were truly unwatchable. That particular five minutes (which in reality must have taken much longer), when Ralston breaks his arm, twice, and then basically saws through it with a very blunt and ineffective multi-tool blade, was truly gruesome. This has turned many cinema-goers off. Which is fair enough. But Boyle could not shy away from this scene. It signifies the lengths Ralston is prepared to go in order to live. And when Ralston finally pulls away from that rock, what we feel is not repulsion or shock or pity, it’s overwhelmingly a feeling of relief and joy.
Boyle’s direction is intimate and claustrophobic and expansive, all at once. It’s frantic and exuberant and poignant. He cleverly uses music and images of crowds of people to set us up for what is a lonely, silent tale. I’m thankful this film was in his hands – there are few that would handle it as well as he did. In fact, there are few that would take it on in the first place.
This is not a film for the faint-hearted. You know who you are – usually I am one of you! But, if you can, see this film. It’s about the triumph of the human spirit and, in these tough times (particularly in my part of the world), what better subject matter is there?
-------------------------------
Aron: Hey there, Aron! Is it true that you didn't tell anyone where you were going?
Dir. Danny Boyle
Scr. Danny Boyle & Simon Beaufoy (based on “Between a Rock & a Hard Place” by Aron Ralston)
This movie is less a film about some guy who got trapped, and more an experience. And a gut-wrenching one at that. James Franco does a stellar job in carrying this film and Danny Boyle truly takes us on an emotional and often uncomfortable journey. This is daring film-making at its best.
127 Hours dramatises the true life story of Aron Ralston (Franco), a gung-ho adventurer who, while canyoneering in Utah, becomes trapped by a falling rock. Pinned by his right arm, Aron uses all his boy-scout powers to try and free himself, spending a total of 127 hours with very little water or food and unsure of whether he will survive. Through hallucinations, flash-backs and recordings Aron makes on his trusty camcorder, we get a picture of a man and his life and his regrets. In the end, he does what you might think impossible – breaks and cuts his own arm off in order to get free.
I cannot begin to imagine what Aron’s real life experience was actually like, but the real Ralston was heavily involved in this production and has said that the film was so factually accurate that it’s as close to a documentary as you can get and still be a drama. It’s reassuring that Boyle and co have not taken too many liberties. And testament to Ralston’s actual experience that this film keeps you riveted for the entire journey. Basically, after all, we’re watching a man stuck in a cave. And, for me, this is in no small part due to Franco’s performance, which is truly deserving of his Oscar nomination. Franco has always struck me as a bit of a lightweight, good at stoner dude roles. And because he is unassuming in this way, his performance really does take you by surprise. Which is just as well – without a strong lead, this film would have been simply unwatchable.
As it is, there were five minutes that, for me, were truly unwatchable. That particular five minutes (which in reality must have taken much longer), when Ralston breaks his arm, twice, and then basically saws through it with a very blunt and ineffective multi-tool blade, was truly gruesome. This has turned many cinema-goers off. Which is fair enough. But Boyle could not shy away from this scene. It signifies the lengths Ralston is prepared to go in order to live. And when Ralston finally pulls away from that rock, what we feel is not repulsion or shock or pity, it’s overwhelmingly a feeling of relief and joy.
Boyle’s direction is intimate and claustrophobic and expansive, all at once. It’s frantic and exuberant and poignant. He cleverly uses music and images of crowds of people to set us up for what is a lonely, silent tale. I’m thankful this film was in his hands – there are few that would handle it as well as he did. In fact, there are few that would take it on in the first place.
This is not a film for the faint-hearted. You know who you are – usually I am one of you! But, if you can, see this film. It’s about the triumph of the human spirit and, in these tough times (particularly in my part of the world), what better subject matter is there?
-------------------------------
Aron: Hey there, Aron! Is it true that you didn't tell anyone where you were going?
Friday, February 18, 2011
Unknown
Liam Neeson, Diane Kruger, January Jones, Aidan Quinn, Bruno Ganz, Sebastian Koch
Dir. Jaume Collet-Serra
Scr. Oliver Butcher & Stephen Cornwall
It’s not the most thrilling thriller you’ll ever see, and you’ll probably latch on to the surprises before you’re supposed to, but Unknown is an enjoyable and sporadically interesting thriller with some strong performances by a fine cast. This, coupled with the excellent 2008 film Taken, are exactly the roles that suit the now greying Liam Neeson.
Unknown is about stolen identity and finding out who you really are, whether you like it or not. Dr Martin Harris (Neeson) travels to Berlin with his wife Liz (Jones) to speak at a biotechnology conference. After a taxi ride goes horribly wrong, Harris awakes from a coma with only pieces of his memory in tact. But he knows who he is, or does he? His wife doesn’t recognise him and another man (Quinn) appears to be the “real” Martin Harris. Harris enlists the help of his taxi driver Gina (Kruger) and an ex-Stasi policeman turned private detective Jurgen (Ganz) to discover the truth behind what quickly appears to be a dangerous cover-up. Things are not what they appear to be .... and that’s all I will say.
There are enough holes in Unknown’s plot to bug many, but when it’s good, it’s really quite good. The story revolves around biotechnology research, which adds a dimension of intrigue and keeps you guessing. There are enough fight scenes and satisfying explosions to keep the action movie lover happy. And there’s a car chase that is one of the best I have seen in quite some time. The twist in the tail of Unknown really is quite preposterous, but I didn’t care too much. It was the ride I enjoyed and it was a wild one.
The greatest saving grace for this film is its cast. Neeson is mildly wooden but a wonderful hard man when he warms up to it. We saw this in Taken and he continues in this punchy vein. Jones is a tad annoying in her role as Mrs Dr Harris, but not distractingly so. Quinn is quite two-dimensional, as usual. The real stars here are those from the Continent. Kruger is brilliant as the illegal alien taxi driver who is thrown into the mess and drama against her will but for her own survival. Tough and sexy, it’s hard to take your eyes off her. Ganz, known to most of us from his phenomenal portrayal of Hitler in Downfall, is an absolute treat to watch as an ageing old school hard man with dignity in spades. Koch, as the brilliant and altruistic Professor Bressler, is a welcome addition to this cast in his small but vital role. The other cast member is the city of Berlin itself which, of course, is both murky and stunning.
While Unknown is not going to win any awards or test the brain cells too much, it is a perfect Friday night flick for those of us who like a bit of thrilling action in our cinematic diet. Utterly watchable.
---------------------------------
Dr Martin Harris: Do you know what it feels like to become insane? It’s a war between being told who you are and knowing who you are. Which do you think wins?
Dir. Jaume Collet-Serra
Scr. Oliver Butcher & Stephen Cornwall
It’s not the most thrilling thriller you’ll ever see, and you’ll probably latch on to the surprises before you’re supposed to, but Unknown is an enjoyable and sporadically interesting thriller with some strong performances by a fine cast. This, coupled with the excellent 2008 film Taken, are exactly the roles that suit the now greying Liam Neeson.
Unknown is about stolen identity and finding out who you really are, whether you like it or not. Dr Martin Harris (Neeson) travels to Berlin with his wife Liz (Jones) to speak at a biotechnology conference. After a taxi ride goes horribly wrong, Harris awakes from a coma with only pieces of his memory in tact. But he knows who he is, or does he? His wife doesn’t recognise him and another man (Quinn) appears to be the “real” Martin Harris. Harris enlists the help of his taxi driver Gina (Kruger) and an ex-Stasi policeman turned private detective Jurgen (Ganz) to discover the truth behind what quickly appears to be a dangerous cover-up. Things are not what they appear to be .... and that’s all I will say.
There are enough holes in Unknown’s plot to bug many, but when it’s good, it’s really quite good. The story revolves around biotechnology research, which adds a dimension of intrigue and keeps you guessing. There are enough fight scenes and satisfying explosions to keep the action movie lover happy. And there’s a car chase that is one of the best I have seen in quite some time. The twist in the tail of Unknown really is quite preposterous, but I didn’t care too much. It was the ride I enjoyed and it was a wild one.
The greatest saving grace for this film is its cast. Neeson is mildly wooden but a wonderful hard man when he warms up to it. We saw this in Taken and he continues in this punchy vein. Jones is a tad annoying in her role as Mrs Dr Harris, but not distractingly so. Quinn is quite two-dimensional, as usual. The real stars here are those from the Continent. Kruger is brilliant as the illegal alien taxi driver who is thrown into the mess and drama against her will but for her own survival. Tough and sexy, it’s hard to take your eyes off her. Ganz, known to most of us from his phenomenal portrayal of Hitler in Downfall, is an absolute treat to watch as an ageing old school hard man with dignity in spades. Koch, as the brilliant and altruistic Professor Bressler, is a welcome addition to this cast in his small but vital role. The other cast member is the city of Berlin itself which, of course, is both murky and stunning.
While Unknown is not going to win any awards or test the brain cells too much, it is a perfect Friday night flick for those of us who like a bit of thrilling action in our cinematic diet. Utterly watchable.
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Dr Martin Harris: Do you know what it feels like to become insane? It’s a war between being told who you are and knowing who you are. Which do you think wins?
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