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Star Wars: Episode VII - The Force Awakens (2015)
The Saga Reawakens
"The Force Awakens" does a fantastic job of recapturing the light-hearted, adventurous tone of the original Star Wars trilogy. While the prequels were bombarded with hammy, melodramatic dialogue and dull and stilted performances, this new instalment features rapid-fire, witty lines and more grounded and likable characters that helped make the originals great.
The plot at some points is way too reminiscent of "A New Hope" (Did we really need another Death Star?), but this was, I suppose, necessary to bring new fans to the fold. There are other points where the film's use of humour overplays its serious elements, but this only happens sporadically. And the film certainly doesn't lack in its hard-hitting, emotional content, particularly towards the end.
The new leads do a terrific job of taking up the mantle previously held by Luke, Han and Leia. Rey (Daisy Ridley) is basically a female Luke, but is still able to inject enough originality and believability into her role to not be a cut-and-paste. John Boyega as Finn likewise bears a lot of similarities to Han Solo, through his initial desire to ensure his own survival, yet once again brings plenty of charm and individuality to his role. Oscar Isaac's Poe Dameron doesn't get too much screen time in comparison, which is a bit of a shame considering his acting credentials, but this will likely change in the sequel. Kylo Ren (Adam Driver) makes a pretty solid villain, but nothing will ever really beat Vader. Unlike the original Dark Lord of the Sith, who remains largely cold and emotionless (at least in the original trilogy), Ren is much more erratic and driven by his emotions, making him a much more unpredictable antagonist. Unlike Luke and Leia, Han gets quite a lot of screen time, taking the form of a sort of mentor figure in the vein of Obi-Wan for Rey and Finn, and at more than 70 years of age, Harrison Ford proves that he's still got it.
The set design, visual effects, score and action sequences are all top-notch, with an emphasis on practical backdrops over the heavily green- screened prequels.
Regardless of how good "The Force Awakens" was going to be, I doubt anything would ever top "A New Hope" or "The Empire Strikes Back", just based on the sheer cultural impact these earlier films had. It's much better than the prequels, but the film's plot similarities with episode 4 (and to a degree 5) leave a little bit to be desired, as it seems at times like a reboot of the franchise rather than a continuation. Nevertheless, "The Force Awakens" ends at a point that suggests that the sequels will move off in a new direction. The film's emphasis on likable characters, dialogue-driven humour and old-school thrills ultimately makes it a worthy instalment in the Star Wars saga, and I'm definitely looking forward to what they come up with next.
Kingsman: The Secret Service (2014)
Hyperviolent cartoonish fun
The second film directed by Matthew Vaughn to be based on a Mark Millar-penned graphic novel series after 2010's insanely brilliant 'Kick-Ass', 'Kingsman: The Secret Service' maintains the former film's stylish mix of pitch black comedy, ultra-violence and creative narrative twists.
Essentially a send-up of many classic British spy franchises (most prominently 007), 'Kingsman' focuses on a veteran secret agent (Colin Firth) taking on an inexperienced apprentice (Taron Egerton), with both individuals coming up against a diabolical billionaire (Samuel L. Jackson). The plot's been done to death thousands of times before, but 'Kingsman's' unique self-referential humor and willingness to cross narrative boundaries and defy genre clichés makes it stand out amid a sea of mediocre espionage films.
I was initially worried that Eggsy, the apprentice and the film's main protagonist, was going to be unlikable due to his somewhat arrogant nature, however ultimately Egeton is able to make him a worthy hero by providing the right amount of charm and vulnerability. Colin Firth fits right in as the old-fashioned, gentlemanly Harry Hart, but in some places leaps out of this familiar territory to become a ruthlessly brutal action juggernaut. Samuel L. Jackson is also a terrific watch, with his prominent lisp and aversion to the sight of blood making him a highly unconventional but highly watchable and entertaining villain.
As mentioned earlier, like in 'Kick-Ass' before it, 'Kingsman' is genuinely shocking and brutal in certain stages. At other points, over-the-top, ridiculously well-choreographed violence is fused with the film's morbid sense of humor, providing yet another unique viewing experience from Matthew Vaughn. Like his other productions, the success of 'Kingsman' lies largely in its ability to not take itself too seriously, as well as its tendency to both pay homage to and make fun of the other films that have inspired it's creation.
Even though it's still relatively early to tell, 'Kingsman' will easily be considered one of the best action films of the year.
The Gambler (2014)
Don't go in expecting a crime thriller...
Though it's heavily marketed as a crime thriller, it would be best to approach Rupert Wyatt's remake of 'The Gambler' as a character study. A study of at times a confusing and unlikable protagonist, but an engaging one nonetheless.
Jim Bennett (Mark Wahlberg), the grandson of one of the richest men in California, is a failed writer/literature professor who gambles recklessly. It seems that he is deliberately trying to lose and propel himself deeper and deeper into debt. Perhaps this is a means of punishing himself for his failed dreams, or maybe he just gets a buzz from the risk involved. I've never counted myself as a huge Wahlberg fan, generally due to his constant portrayal of aggressive alpha-male types in action films, but I'm going to have to say that this is one of his best roles, up there with his performances in 'Boogie Nights' and 'The Departed'. The actor's radical weight loss, as well as his perpetually shabby and unhealthy state all contribute to the impression of a very emotionally troubled man, one who attempts to hide behind a confident exterior. He may not have been the best choice for the role, but he does do a very good job nonetheless.
Even though they receive only about two to three scenes each, John Goodman and Jessica Lange give standout performances, as a somewhat sympathetic loan shark and Bennett's worried yet preoccupied mother, respectively.
At times the screenplay doesn't clearly lay out why Bennett acts in such a self-destructive manner, thereby making him quite an alienating figure to the audience. We're really left with hints to piece together what comprises the professor's troubled psyche. He comes across as someone who has lost direction in his life, as a result embracing any sort of intense thrill he can get, as well as the suffering resulting from it. Through his interactions with other characters, it seems that he gradually gets some of that direction back.
Though I haven't seen the original 1974 film starring James Caan (which I've heard is a far superior production), the contemporary remake I still found to be a worthwhile experience. Maybe people were expecting a more action-oriented crime film due to the casting of Wahlberg, or were just plain confused and put off by the somewhat unlikable nature of his character, but I was able to relate to him to a degree, and found the film's ending to be oddly uplifting.
The Imitation Game (2014)
A fascinating portrait of a troubled innovator
The life and career of mathematician Alan Turing would have always made an excellent biopic, so the success of 'The Imitation Game' in terms of its narrative shouldn't come as a surprise. This is coupled with a masterful performance from Benedict Cumberbatch as the enigmatic Turing.
Though featuring little to no battle scenes in a film centered on WWII, 'The Imitation Game' rarely has any trouble depicting the high stakes facing its protagonist and his peers. Every second they toil away in their attempts to crack Nazi codes means more and more lives lost in the brutal conflict encompassing the globe.
Cumberbatch portrays Turing as a brilliant if highly socially awkward innovator. He twitches and stutters constantly, with all of these seemingly insignificant physical traits and tics contributing to this depiction. As he struggles with external forces attempting to clamp down on his work, as well as his repressed homosexuality, Turing becomes, and behaves, more and more erratically. In recent years Cumberbatch has established himself as an acting powerhouse, and his role in 'The Imitation Game' will surely be added to the top of his portfolio.
Many parallels are drawn between the revolutionary Nazi code-cracking computer Turing designs and Turing himself, an individual who at many points is deemed by his peers to be more machine than man. The supporting cast help strengthen this image, their unique, bubbly personalities contrasting with Turing's withdrawn nature.
Like 'The Social Network, 'The Imitation Game' functions as both a terrific historical account of technological innovation, as well as a fascinating character study of the depths one will go to to ensure the survival of their work. However, unlike The Social Network's Mark Zuckerberg, who is presented largely as a Machiavellian antagonist, Alan Turing is presented as a tragic hero, a man who helped save possibly millions of lives, but was ultimately punished ruthlessly for his personal life.
The Water Diviner (2014)
A solid directing debut from Russell Crowe, and an effective antiwar statement
Often I'm skeptical when a prominent actor tries to transition into the director's chair, but luckily Russell Crowe does a decent job in his first motion picture behind the camera (as well as in front of).
What I liked about 'The Water Diviner' was its mostly successful balancing of both the perspectives of the citizens of Australia and Turkey. As opposed to merely painting the Turks as the anonymous "enemies-in-the- distance" that appear frequently in many Gallipoli-centered war films, the Turks are portrayed predominantly in a positive light, with Crowe's character forming many close relationships with them. Many vital Turkish cities and landmarks such as the Gallipoli peninsula and Istanbul are utilised well in order to both highlight and give respect to Turkish culture and history.
Russell Crowe plays basically the same role he does in every other film he's in, a stoic, blokish man's man who relentlessly searches for his sons who went missing in combat in this foreign land. The film is also helped by an impressive supporting cast, with Cem Yilmaz being a highlight as a compassionate Turkish sergeant. However, you can't help but be surprised at certain points why certain Australian and international actors were cast as Turkish characters, though these roles were still executed quite well.
Like many war/postwar/anti-war films, 'The Water Diviner' can occasionally dip into some overly sentimental, melodramatic territory, however these are overshadowed by some truly hard-hitting, harrowing scenes. One in particular, during the last act of the film, really packs a punch (you'll know it when you see it).
Now nearly at the 100-year anniversary of the failed Gallipoli campaign, it seems fitting that 'The Water Diviner' contains a much more retrospective, melancholy depiction of the conflict. There aren't really any winners in war. On either side fathers and sons disappear off the face of the earth, leaving gaping holes in the lives of those that remain. With careful, considerate storytelling and directing, 'The Water Diviner' is able to convey this message.
Exodus: Gods and Kings (2014)
An acceptable, but not outstanding, modern Biblical epic
The second film this year to provide a revamped action-oriented take on a Biblical story after Darren Aronofsky's "Noah", "Exodus: Gods and Kings" maintains Ridley Scott's strong dedication to visually impressive set-pieces, while also unfortunately continuing his recent reliance on average writing and plot structure.
"Gods and Kings" seems to take a more historically and geographically accurate approach to the Exodus story, presenting supposedly miraculous events in a more realistic manner, with massive parting walls of water being replaced by receding tides, etc. This may irritate certain religious groups, but events such as the Ten Plagues, as well as Moses' (Christian Bale) early siege on a Hittite army, are all still highly captivating and visually stunning sequences.
Though the dynamic between Moses and Ramesses (Joel Edgerton) could have been explored in more depth, especially in regards to their childhood and youth, which is unfortunately not depicted, both actors still give it their all, ensuring that their deep rivalry is captured strongly. While not ranking as Bale's strongest role (he works better in smaller productions such as "The Machinist" and "The Fighter"), he is still a solid Moses, though perhaps not as brilliant as Charlton Heston's depiction of the character. Joel Edgerton is also commendable in his role as the Pharaoh, clearly having a blast as the sadistic uber-dictator.
Though the two key characters are great, a large percentage of the supporting cast feel either criminally underused or horribly miscast, and sometimes both. Though Sigourney Weaver and Aaron Paul have impressive portfolios, they receive barely any speaking lines, and even when they do you can't help but feel that there were many other capable actors who would have better suited the roles.
The film tends to meander and slow down around its prolonged second act, which wouldn't be as much of a problem if the film had a better screenplay. This, however, is redeemed largely by Bale, who remains engrossing to watch.
Though let down in certain parts by some poor casting decisions and some weak writing, "Exodus: Gods and Kinds" is still a worthwhile experience, with the performances of its two leads and a gorgeous visual style redeeming some of these flaws. It's definitely not Ridley Scott's best film, but it's certainly not his worst.
Nightcrawler (2014)
An eerie neo-noir production featuring Jake Gyllenhaal at his creepiest
"Nightcrawler" details the exploits of Louis Bloom, an emotionally disturbed and likely sociopathic yet highly motivated young man who takes up freelance crime photography after witnessing cameramen taking footage of a car crash. As he propels through the ranks at the local news station to which he sells his films, he becomes more and more directly involved in the crimes that he documents.
Jake Gyllenhaal delivers a highly disquieting performance as Bloom, in what is arguably his best role yet. Though Louis immediately comes off as friendly and charming, you can't help but feel that this is just a mask, and that something much more dark and sinister bubbles just below the surface. This becomes much more apparent across the course of the film, as Louis freely extorts and manipulates others to get to his desired goals, without a shred of remorse. Virtually no backstory is granted for him, making him, and all of his unique tics and traits, all the more enigmatic and creepy. Other key characters, such as Nina (Rene Russo) and Rick (Riz Ahmed) are forced to play into Lou's plans, with great dramatic effect.
The majority of the crimes that Lou film are only clearly shown through the grainy footage that he provides to his go-to news station, making we, the audience, feel as if we are also perpetuating and participating in his depraved acts. This coupled with Lou's gradual transition from passive filmmaker to borderline crime instigator makes for an uneasy viewing experience.
Like Nicolas Winding Refn's "Drive" (2011), "Nightcrawler" has a distinct 80's neo-noir vibe, with a stylistic use of minimal lighting and synthesizer-driven soundtrack, which all help contribute to the production's haunting atmosphere.
The end result is a hard-hitting, compelling film that forces audiences to question their own obsession with violent media and sensationalist news production. This, combined with a bold yet brilliant performance from Gyllenhaal makes "Nightcrawler" must-see viewing.
The Hunger Games: Mockingjay - Part 1 (2014)
The inevitable calm before the storm
The Games may be over, but the revolution is just beginning. "Mockingjay - Part 1" repeats the same formula present in many of these current two-part adaptations of popular literary works: a slow-paced, exposition-laden first half that will be undoubtedly contrasted with its fiery, action-driven conclusion due to be released next year. Although the decision to do this makes "Mockingjay - Part 1" so far the weakest in the Hunger Games quadrilogy, solid performances and an overbearing sense of dread still make "Part 1" a worthy installment in the dystopian series.
As the twelve districts amass against the oppressive Capitol, Katniss Everdeen (Jennifer Lawrence) finds herself being used as a propaganda tool to garner support for the revolutionaries. She also finds her loyalties divided between those she is being encouraged to inspire, and those who are held captive in the Capitol, including friend/love interest Peeta (Josh Hutcherson).
Like with the previous two productions, much of the film's success rests on Lawrence's more-than-capable shoulders. Her character shifts effortlessly back and forth from a reluctant victim of circumstance to a full-fledged freedom fighter. The actress can be just as dedicated in roles such as these as to those for which she has been Oscar-nominated (Winter's Bone, Silver Linings Playbook). Many of the other previously prominent characters, such as Haymitch (Woody Harrelson) and Peeta, are relegated largely to the sidelines in this installment, though they surely will receive their fair share of moments in the concluding entry.
By taking a much slower, introspective approach, the film is perhaps able to reach a much deeper form of social and political commentary, as well as further insight into Katniss' now even more flawed psyche. Clear comparisons can be drawn between the turbulent climate Katniss is thrust into and the current relationships between first and third-world civilizations. Though this setting already provides an unnerving cinematic experience, the similarities displayed in real life make it all the more closer to home.
The decision to split the final book adaptation into two films inevitably deprives "Mockingjay - Part 1" of a sufficient third act. We get a great build-up, but no pay-off, something which will unfortunately have to wait until next year. However, as far as build-ups go, "Mockingjay - Part 1" does the job well, refamiliarizing its audience with the chaotic world of Panem, its pivotal characters, as well as effectively raising the stakes for 2015's even-more-anticipated climax.
Interstellar (2014)
A terrific addition to the science-fiction genre
Christopher Nolan's "Interstellar" is arguably his most ambitious film yet, traveling beyond the relatively grounded settings of his Earth-based productions for a film of much more galactic proportions. The result is probably not his best film, but still an immensely impressive sci-fi production that will likely stand the test of time to be included as a solid example of the genre.
The film follows the crew of the Endurance as they attempt to find a habitable planet to replace a gradually dying terra firma. Incorporated into this include wormholes, black holes, time dilation and extra-dimensional beings.
Stylistically and structurally, the film is similar to "2001: A Space Odyssey", but also appears to draw inspiration from various other sci-fi classics such as "Contact" and "Close Encounters of the Third Kind". Unlike other modern sci-fi productions that seem to consist largely of unsubtle, action-oriented alien invasion flicks, "Interstellar" goes for a much more minimalist, slowly-paced approach, in accordance with its above-mentioned inspirations. The result is a film that is much more cerebral and emotionally-balanced, as is to be expected from Nolan.
Matthew McConaughey delivers the role of Cooper without fault, effortlessly portraying a man who is forced to leave his young family behind, a period which becomes decades on Earth. This inner turmoil grows gradually across the narrative. Anne Hathaway and Jessica Chastain also have their moments, but a lot of the cast exist largely as plot functions, their dialogue consisting predominantly of exposition. This is naturally expected though, for a film of this scope. A certain A-list actor appears roughly halfway through the film as well, and is also an unexpected highlight.
As with other Nolan films, the score provided by Hans Zimmer, as well as the impressive visuals and cinematography flawlessly compliment each other, building up gently before reaching a grand crescendo in the film's metaphysical climax. Zimmer appears to go for a more lighter score this time around, as opposed to the intense, bass-driven soundtracks of 'The Dark Knight' and 'Inception', which ultimately works well with the film's melancholy atmosphere.
The film's third act introduces a lot of plot twists and turns, which inevitably requires some suspension of disbelief. The laws of physics, time and space are bent to their limitations, which may be intimidating and overwhelming for some audiences but never failed to impress me and others due to the sheer scope and imagination of the final sequences' architects.
'Interstellar' is a mind-bending journey into the far reaches of the universe, as well as an emotional expose of the lengths the human race is capable of going to in order to ensure its survival. Though perhaps relying too much on previous sci-fi classics, particularly in its final act, it doesn't exactly reach the heights of some of Nolan's previous films. This isn't saying much however. The film's ambition and concept, its cast, visuals and score all will inevitably ensure that 'Interstellar' stands out in a wave of mediocre modern science fiction films, as well as all sci-fi films in general.
John Wick (2014)
A solid return to form for Keanu Reeves, and a rare standout action flick
After a recent barrage of rather forgettable action films, it's refreshing to see that 'John Wick' provides excellently-choreographed, energized fight sequences as well as elaborate chase scenes, in addition to a likable protagonist who you can easily root for.
In essence a revenge flick, 'John Wick' details the titular ex-hit-man's mission to hunt down the people that stole his car and killed his dog, the latter being a final gift from his deceased wife. As it turns out, the people he's pursuing are related to his former employer.
I'm not the hugest fan of Keanu Reeves as an actor, but he nails the role of John. It's largely a physical performance, with John being a seemingly introverted, rarely talkative individual. This sympathetic, almost vulnerable side is juxtapositioned effortlessly with the brutal, merciless part of him that reawakens on his quest for vengeance. A great return to form for someone who hasn't really had a decent role since 'The Matrix Trilogy' or 'A Scanner Darkly'.
A lot of the other cast members, such as Willem Dafoe and John Leguizamo, as well as a surprisingly large amount of people who have worked on HBO programs, receive very limited screen time considering their impressive portfolios. Nevertheless, they are all still able to maintain a hefty screen presence.
Being directed by a stunt choreographer, it doesn't really come as a surprise that 'John Wick' has some ridiculously well-made shootouts and car chases. A highlight is John's rampage through a nightclub, gunning down countless dozens of thugs in his pursuit of his dog's killer. As opposed to a lot of the uninspired, uninventive cinematic action releases of recent years, 'John Wick's' set-pieces maintain a highly fluid and energetic quality.
The film itself has an interesting portrayal of the complex criminal underworld that lies right on the brink of normal society, a world that John is forced to return to. Everyone appears to know each other (John included), from 'waste disposers' to bartenders to hotel guests. It comes across as an unorthodox (yet welcome) hybrid of Guy Ritchie and David Lynch tropes.
On the whole, 'John Wick' is a standout production in a list of otherwise banal recent action films, aided by its excellently-crafted actions scene, and a solid protagonist in the form of Keanu Reeve's John.
Fury (2014)
A perfectly competent war film, bolstered by impressive performances and fierce action set-pieces
While nowhere near as good as it obvious influences, such as 'Saving Private Ryan' and 'All Quiet on the Western Front', 'Fury' is still an effective and competent entry in the war genre, aided by its talented cast and intense, harrowing battle sequences.
'Fury' follows the five-man crew of the titular tank as they travel across Nazi Germany during the later days of WWII, focusing on the atrocities they encounter, and sometimes generate themselves.
Though the performances of all five primary actors are great, the two that stood out for me were Logan Lerman as Norman, who gradually evolves from an inexperienced typist to a battle-hardened warrior, and Joe Bernthal as Grady, a brutish, ill-tempered loader who constantly mumbles. Brad Pitt does his usual leading man gig without difficulty, and Shia LaBeouf and Michael Peña aren't given enough screen time, but work well with what they're given.
The film's numerous set pieces are brilliantly choreographed and stylised but claustrophobic and intense at the same time. The scenes in which Fury's crew take on a German Tiger, as well as its stand against 300 Nazi soldiers, are some of the most effective I've seen in recent years.
Like many of its forebears, 'Fury' strives the capture the insanity and chaos of war, not only that created by the 'enemy in the distance' but also by Allied fighters. Just as Nazi soldiers are displayed gunning down civilians, in several scenes Fury's crew harasses German citizens and coldly executes captured unarmed soldiers. In contrast, there are other scenes where not only Fury's crew, but also German soldiers, are seen acting selflessly. The message would appear to be that war can bring out both the worst and the best in people, regardless of their affiliation.
Sure, it doesn't have as much emotional impact as say 'Apocalypse Now' or 'Platoon' in this revisionist, attemptedly unbiased approach, but 'Fury' still manages to be a hard-hitting, perfectly acceptable modern war film that doesn't shy away from portraying its protagonists in a morally ambiguous light.
Whiplash (2014)
Intense performances and a brutal outlook make this a must-see
'Whiplash' concerns the efforts of Andrew Neyman (Miles Teller), a jazz drummer student who desperately wants to become 'one of the greats'. This desire is fiercely challenged by his perfectionist, borderline emotionally abusive conductor Terence Fletcher (J.K. Simmons).
The performances of the two leads are simply fantastic. Miles Teller, relying on small mannerisms and facial tics, is flawlessly able to come across as a highly introverted, yet highly motivated protagonist. JK Simmons on the other hand, excretes aggression and confidence to deliver one of the most terrifying and captivating cinematic roles I've seen in recent years. An almost definite Best Supporting Actor nominee.
The film perfectly captures the intensity and ruthlessness surrounding those trying to break into creative industries. As opposed to going down the cliché-ridden path of showing Andrew being gently fostered and motivated into the jazz scene by a kind, caring professor, 'Whiplash' shows the protagonist being relentlessly put down again and again, almost reaching psychological breaking point in the process.
In adopting this brutal, cynical approach, 'Whiplash' takes what could have been another generic, bland music-themed film and turns it into an intense psychological study of the lengths one can go to to realise their dreams, giving it all the suspense and potency of any classic Hitchcockian thriller. Must-see viewing.
Annabelle (2014)
Pales in comparison to "The Conjuring", but still provides a few decent scares
Heavily marketed as a spin-off of 'The Conjuring', 'Annabelle' aims a bit too high for its own good. Nevertheless, it still proves to be a perfectly competent modern horror flick, with more than a few effective scares.
Focusing on a young family in 1970's America, 'Annabelle' depicts their struggles, initially against a murderous cult, then the titular doll who has been possessed by an otherworldly entity.
It was good that the creative team at least attempted to flesh out the main characters, trying to give them substance and warmth as opposed to making them the usual one-dimensional, sex-crazed teenagers. However, a lot of the dialogue-driven scenes that strive to do this are poorly-written and awkward. That being said, these do still help the audience empathize with their situation.
The film's structure and build-up in terms of suspense could have been more refined (particularly in comparison to 'The Conjuring'). Whereas preferably I thought the film should have begun with smaller, quieter fright sequences that proceeded to build up to something larger across the course of the narrative, 'Annabelle' instead pounds the audience again and again, only to die down for another five minutes. This does kill a bit of the film's potential momentum, but ultimately this structure is redeemed by the sheer effectiveness of some scenes.
Being directed by a previous cinematographer, many of 'Annabelle''s sequences are highly inventive and frankly, terrifying. Shadows and obscure camera angles all assist in this cinematic creativity, making sure that you'll never look at bedroom doors or stairwells the same way again.
Though it does sometimes falter in terms of its dialogue or its narrative structure, 'Annabelle' gets by on the brilliance of some its fright scenes. Though by no means as good as 'The Conjuring' or any of the horror genre's classics, 'Annabelle' is still a worthwhile experience for those who want a decent scare. Or several.
Gone Girl (2014)
Another stylistic masterpiece from David Fincher
David Fincher's career has been defined by grim, bleak productions with an underlying dark sense of humour, and 'Gone Girl' is no exception. While not as good as the likes of 'Se7en' and 'Fight Club', 'Gone Girl' is still an excellent production, and up there with the year's best films.
The initial premise of the film is whether Nick Dunne (Ben Affleck) has murdered his wife Amy (Rosamund Pike). However, the film takes multiple plot twists and turns, making the matter much more complicated than it initially appears.
The two leads are fantastic, but Pike is the real highlight, flawlessly portraying a woman who has some serious relationship problems to say the least. A potential Best Actress nominee.
Other stand-out performers include Neil Patrick Harris, who takes a rare serious role without any difficulty, as well as Tyler Perry as idiosyncratic defence attorney Tanner Bolt.
'Gone Girl' carries on Fincher's current tradition of a highly polished visual style juxtapositioned with its morbid subject matter, complimented by its crisp editing and cinematography.
Trent Reznor and Atticus Ross, who provided the soundtrack for both 'The Social Network' and 'The Girl with the Dragon Tattoo' are likewise a familiar addition, with the score provided by them being mostly minimalist, yet perfectly tied-in to the on-screen occurrences and the film's grim tone.
As an adaptation of the popular 2012 novel, 'Gone Girl' doesn't disappoint, removing certain elements that are superfluous or unnecessary, yet still strictly sticking to the unique plot structure and maintaining the novel's cynical view of marriage and long-term relationships. It would seem that Fincher and author/screenwriter Gillian Flynn are a match made in cinematic heaven.
Highly-recommended viewing.
Sin City: A Dame to Kill For (2014)
Style over substance
From a noir perspective, 'Sin City: A Dame to Kill For' is a terrific homage. All of the standard elements, such as the fall guy and femme fatale are present, as well as an absolutely gorgeous visual style, with a strong emphasis on expressionistic shadows and black-and-white photography, as well as odd splashes of bright colors to highlight certain characters and objects. Unfortunately, unlike its predecessor, which can be seen as a perfectly competent standalone noir production, 'A Dame to Kill For' doesn't quite reach the same heights, coming across as a homage piece more than anything.
Some of the vignettes, such as Johnny's (Joseph Gordon Levitt)'s storyline, are great, because of their contained, independent nature. Others such as Nancy's (Jessica Alba) feel forced and inconsistent with the tone the film is striving for. Fan-favorites from the first film, such as Marv (Mickey Rourke) and Hartigan (Bruce Willis) also tend to be thrown in as supporting characters based on their popularity, rather than being given their own lengthy story lines. A better approach would have been to create three or four vignettes that are almost unrelated to those of the first film.
Whereas the predecessor's screenplay dripped with cynicism and wit, the dialogue in 'A Dame to Kill For' is a bit sloppier, with the odd great noir moment being overwhelmed by some awful one-liners, befitting B-grade action movies more than anything.
Despite some of these flaws, 'A Dame to Kill For' still boasts some terrific performances, such as those of Eva Green (not the best femme fatale but still a strong contender), Josh Brolin (taking over from Clive Owen as Dwight), Powers Boothe and Joseph Gordon Levitt. Also, the film's visual style, with the advance in computer-generate imagery over the last nine years, in many ways is an improvement over the original 'Sin City'.
Ultimately, if you enjoyed the first film, 'A Dame to Kill For' is a worthwhile watch, despite its flaws in terms of its screenplay, and several of its story lines, which rob it of a bit of its potential majesty.
Boyhood (2014)
The ultimate coming-of-age film
For a production that was filmed in brief 3-day periods across more than a decade, 'Boyhood' flows remarkably well. We're introduced to a 7-year-old Mason, who gradually evolves into an 18-year-old college student across the course of the narrative, in a way that feels natural and authentic, almost convincing you that you're watching a documentary rather than a fictional account of a boy's adolescence.
In a beautifully paced manner, Mason experiences many of the things that most children growing up would encounter in some form or another: moving homes, embarrassing birds-and-bees discussions, and high-school romances. The important thing is that these experiences are displayed in a believable way, one that can still completely draw the audience's attention and interest.
This authenticity and realism carries on into both the cast and the screenplay. Even though they are portraying fictional characters, you really couldn't say that any of the cast members, particularly Mason Jr. and his sister Samantha (portrayed by Ellar Coltrane and Lorelei Linklater), were really acting. More so they were projecting their real- life coming-of-age experiences through these characters. Patricia Arquette and Ethan Hawke, who play the two kids' parents, likewise don't appear as if they're acting at all, as they have literally spent 12 years on this project, watching Ellar and Lorelei grow up and reacting to these changes as such.
Running at nearly three hours, I never thought 'Boyhood' was outstaying its welcome. Much rather, I could have spent another three watching Mason grow into his thirties. 'Boyhood' perfectly captures the inevitable mental and physical growth that every human experiences before reaching adulthood. In addition, director/screenwriter Richard Linklater is able to flawlessly introduce warmth, humor and in parts tragedy, all in a genuine, believable way, with great dialogue and contemporary soundtrack choices. Fingers crossed, in maybe 12 years time we'll see a film called 'Manhood' pop up.
Must-see viewing, and a serious contender for Best Picture at the next Oscars.
Predestination (2014)
Polished direction and great performances make this an above-average sci-fi.
'Predestination' is like 'Inception' in that it'll require multiple viewings to fully appreciate the film. While not as good as 'Inception', it still provides you with an intelligently-made, well-acted piece of high- concept sci-fi, regardless of some its narrative logic flaws.
There's really very little I can reveal about the film without spoiling important plot details, other than it involves time travel and paradoxes. The first half of the film follows the life of an androgynous young man in a relatively straight forward fashion, whereas the remainder of the film launches into a complex, time-bending quest as the man is forced to alter events in the past.
Ethan Hawke and Sarah Snook are really the only two prominent players in the film, with Snook playing the man at two very different stages in his life, both who are starkly different individuals. She nails both of these roles effortlessly. Hawke is still good as the man's mentor, but the film really belongs to Snook.
Though I was already familiar with the story's numerous plot twists and turns, the emotional impact is still quite strong. Having said that, there are certain hints and quotes placed in the film, some perhaps a bit too obvious, that can potentially give away these twists prior to when the directors intended. The concept itself is still well-executed and the narrative well-paced. Once again, I really can't be too specific without revealing too many important plot details.
On the whole, if you like your science fiction films with an emphasis on plot and character development over high-end CGI and explosive action sequences, you will likely enjoy this one. Though they are numerous holes and lapses in logic in regards to the time-travel aspect of the film, these are relatively minuscule, and are redeemed by great performances and a well-polished direction. A big improvement over the Spierig brothers' last production 'Daybreakers'.
The Inbetweeners 2 (2014)
Nice improvement over the first film, and a worthy final installment
"The Inbetweeners 2" had huge potential for being a shameless, unfunny cash-in. Luckily this isn't the case, with it in many ways being an improvement over the preceding film, though it does of course bank itself on the first film's success.
The shift to Australia for the majority of the movie is a welcome one, with the plot comprising largely of the four protagonists' fish-out-of- water antics. Being a Gold Coaster myself, it was nice to see how certain locations and landmarks were used(and abused) all in the name of comedy. Will's (Simon Bird) flight down a water park slide being pursued by a rather unsavory object was easily the highlight of the whole film (the whole audience was in stitches). Neil's (Blake Harrison) comparison of the Sydney Opera House to a spaceship was also quite welcome.
Out of the four protagonists, Will tended to get the most attention, from his criticism of a narcissistic dreadlock-wielding hippy to his horrific rendition of a love song. Without the school-based setting, as well as the removal of certain characters from the television show, Jay (James Buckley) and Simon (Joe Thomas) tended to lose a bit of their unique character traits, however they still received their moments.
Some of the jokes did tend to fall flat, but these were often redeemed by some truly brilliant ones, such as the water park scenes and the four lads' desperate methods for acquiring water in the outback.
Even though it didn't wrap things up as well as the first Inbetweeners film, which did so in an overly optimistic, inconsistent way, you could tell that this is going to be the last installment. Given the ages of the protagonists as well as the actors who play them, any other subsequent productions would probably be jumping the shark. However, if there was ever to be an on-screen finale for the four boys/men, you probably couldn't ask for a better one than this.
The Expendables 3 (2014)
A surprisingly dull installment
Whilst the original "Expendables" and its first sequel were unashamedly brainless yet highly entertaining, "The Expendables 3" is unfortunately quite a boring and lifeless experience, due to its watered-down, heavily-edited and rarely-used action sequences, and its often uncompelling new characters.
Series favorites such as Stallone, Schwarzenegger and Statham are placed too much to the side in order to make way for a number of new recruits to the mercenary team. Unfortunately, these new members simply don't have the on-screen charisma of their predecessors, thereby making any sort of character interactions quite mundane.
There were only two cast members, both whom made their first appearance in this installment, who stood out for me: Antonio Banderas, who plays an overly-enthusiastic, overly-talkative sharpshooter; and Mel Gibson, who makes quite a solid villain, but really doesn't receive the screen time he deserves. The rest of the ensemble, such as Wesley Snipes and Kelsey Grammar, aren't granted enough space to grab the audience's attention or interest. Harrison Ford has a few good lines, but once again, is used too sparingly.
In contrast to the first two films, "The Expendables 3" seemingly tries too hard to be more of a character-driven installment, sacrificing choreographed fight sequences for often poorly-written conversations, which makes the film quite a dull, plodding experience for the first 90 minutes. The final act, however, picks up the pace dramatically, with great chemistry between the film's headliners and stunning battle scenes. If only the first 75% of the film had been like this.
Guardians of the Galaxy (2014)
The Marvel formula brews magic yet again
If you enjoyed 'The Avengers', 'Captain America: The Winter Soldier', or any of the numerous Marvel Cinematic Universe productions, inquire no further. 'Guardians of the Galaxy' maintains Marvel Studios' solid winning streak with its vibrant mix of action, humor and heart.
Out of the five titular protagonists, it's Rocket, a hyper-intelligent, hyper-cocky raccoon, and Groot, a sentient humanoid tree, that steal the show, however all of these misfits receive their time in the spotlight, with their unique personalities and traits. This is countered by the film's overly one-dimensional, archetypal villains.
The special effects are fantastic, the screenplay is witty and pop- culture savvy and the fight scenes are inventive and well-choreographed. As opposed to a largely orchestra-driven soundtrack, 'Guardians' makes a bold choice of using '70's pop music, which ultimately fits in well with the film's happy-go-lucky tone.
Certain actors, such as Benicio Del Toro and Glenn Close, don't receive nearly enough screen time that they deserve, but work well with what they're given. In terms of the MCU, 'Guardians' introduces concepts (and refers to devices present in other installments) that will obviously make a greater impact further down the road, such as out first decent look at the MCU's Big Bad.
This is what the Star Wars prequel trilogy could have (and should have) been like. Recommended viewing.
Wolf Creek 2 (2013)
Though some of the grittiness is gone, 'Wolf Creek 2' still packs a punch
'Wolf Creek 2' suffers some of the similar problems seen in other horror movie franchises. Like in the later 'Nightmare on Elm Street' films, too much focus is placed on the antagonist, causing the film to lose quite a bit of suspense and tension. In the first 'Wolf Creek', released nearly a decade ago, John Jarratt's Mick Taylor was an enigma to the audience. He didn't make an appearance until nearly halfway through the film, and even then we had no idea what his deal was until he started torturing and murdering the main characters. In the sequel, Mick has been turned into much more of a comedic antihero, with there being a large emphasis on Mick and his pun-laden one-liners, which kills off a bit of the mystery and edginess that defined the first film.
Likewise, this leads to Mick's victims being that little less relatable and sympathetic, as we are much more familiar with Mick than we are with them.
Like the original, 'Wolf Creek 2' is obviously not for the faint of heart, with the gore and sadistic violence being ramped up. The film's car chases and fright scenes are all the more elaborate and effective due to an obvious budget increase. This much more polished look obviously removes a bit of the grindhouse aesthetic present in the preceding film, however makes up for it in terms of sheer scale.
On the whole, 'Wolf Creek 2' is still quite an intense thrill-ride, and one worth checking out, especially if you enjoyed the first. Unfortunately, the creative team's decision to spend more time with Mick and less with the unfortunate tourists who encounter him deprives the film of what could have made it a superior sequel.
Do the Right Thing (1989)
Complex, thought-provoking and uncompromising
I've heard many critics complain that 'Do the Right Thing' is a completely biased film that demonizes white people and incites racial bigotry. After viewing it for the first time, I'm led to believe that such people have seen a completely different film. Much rather than pursuing some sort of ethnic agenda, 'Do the Right Thing' depicts the biases and prejudices that people of all races bear.
The film takes place in a predominantly African-American neighborhood in Brooklyn, in the middle of an intense heatwave. The neighborhood is also home to groups of Puerto Ricans, Koreans and Italian-Americans. Throughout the day, racial tensions become more and more erratic until they eventually erupt into a violent, much-discussed climax.
At first glance, it is easy to come to the conclusion that the owners of Sal's Pizzeria, particularly Pino (John Turturro), are the racist villains of the film. But then again, so is Buggin' Out (Giancarlo Esposito) with his personal attacks on the neighborhood's white residents. So is Radio Raheem (Bill Nunn), with his conflict with the Korean shop-owners. So are the police officers with their barbaric displays of brutality. The point of the film is that there are no definitive heroes or villains. Everyone is just as good, and just as bad as each other. Everyone, despite initially appearing otherwise, has their own racial biases and frustrations.
The film's climax has sparked much controversy due to the motives and actions of the characters involved. Much like the personalities and perspectives of many of the film's characters, there is a deliberate layer of ambiguity and confusion in terms of the conflict. Not one single person can be held responsible for the fire that destroys Sal's Pizzeria, or more importantly the death of Radio Raheem. Rather, the collective actions, misunderstandings and prejudices of the suburb's inhabitants culminate in this final tragedy, one that could have been avoided if everyone had just 'done the right thing'.
The acting, cinematography, screenplay (all mostly thanks to Spike Lee) are all superb. More importantly,however, is the message that Lee conveys through the final product, one that objectively points out the universality and ludicrousness of racial and ethnic hatred and discrimination.
Must-see viewing.
Captain Phillips (2013)
Intense, well-acted thriller that packs a punch
I was initially skeptical upon hearing that Tom Hanks was cast in a depiction of the Maersk Alabama hijacking, expecting that the result would be an overly sentimental, overly sensationalized presentation of the events that transpired. Nevertheless, I was happy to find that 'Captain Phillips' is a realistically acted and surprisingly intense film that sits along the likes of 'The Pianist' and '127 Hours' in the survival film sub-genre.
Hanks portrays the titular captain with ease and competence, convincingly giving the impression of a perfectly ordinary man placed in extraordinary circumstances. As the situation he is placed in becomes more and more desperate, Phillips in turn becomes more desperate, which is once again executed brilliantly by Hanks. Barkhad Abid, in his first role, is almost flawless in his portrayal of Muse, the pirate leader. He remains both sympathetic, as well as utterly terrifying, like a wild animal trapped in a corner. I consider it highly likely that both of these actors will receive Oscar nominations for their performances.
The film does quite a good job at presenting both sides of the story, ensuring that the pirates are not seen as purely evil. However, this could have been a bit more successful if more time was spent displaying the conditions in which the Somalians live, in order to achieve maximum sympathy.
Paul Greengrass, like his involvement in the Bourne films, directs the film in a grounded, realistic manner, with consistent use of hand-held cameras making the film feel like a documentary. The pacing likewise adds to this sense of realism. Roughly half of the film occurs on board a lifeboat in which Phillips has been taken hostage, yet the result is never boring, as the sheer intensity of the experience had me at the edge of my seat constantly.
'Captain Phillips' is an excellent film, both in regards to its acting and pacing. The end result is an intelligent, grounded and thoroughly exhilarating production that makes good use of the talent involved, both on screen and off.
Recommended viewing.
Taxi Driver (1976)
Stunning portrait of an alienated sociopath
Travis Bickle (Robert De Niro) is a disturbed man. Stricken with insomnia, he decides to enrol as a taxi driver in order to pass the time. What follows is a descent into madness, brutality and vigilantism.
De Niro portrays the titular protagonist/antagonist in what can only be described as a masterpiece, both for him as an actor and for Martin Scorsese as a director. The film's intense depiction of urban decay, and Travis' equally intense reactions to this corruption, have gone down (and will continue to go down) as a milestone in cinematic history.
Initially, it is relatively easy to sympathize with Bickle. He is a lonely man, lost and without purpose. After several failed attempts at socialization, he finally manages to acquire a date with a beautiful political volunteer (Cybill Shepherd). When this ends miserably, Bickle's personality takes an even more twisted turn, with him becoming increasingly concerned with ridding the streets of New York from the scum that inhabit them and his taxi. His actions (and his motives) become more and more elusive. By the end of the film, amid all the bloodshed and mayhem, it has become nearly impossible to understand Travis.
Scorsese's use of New York City is remarkable, with obscure angles and shots highlighting and contributing to the alienation and seediness that Travis and the audience are made to feel. Bernard Herrmann's ominous score likewise punctuates this overbearing feeling of dread and despair.
Performances from now-veterans Harvey Keitel and Jodie Foster all help contrast with De Niro's. Whilst Sport and Iris thrive and survive by indulging in the corruption of the city, Travis attempts to destroy this corruption, yet in doing so becomes something far more sinister.
The film's ending has inspired countless debates as to its meaning, with critics and audiences seeking closure. In my opinion, this lack of closure is a perfect ending, as we are left to decide whether Travis is at all redeemable, ultimately an unanswerable question.
If I have one complaint (and this is only a minor one), it is that the violence, due to the inevitabilities of time, has lost a bit of its impact. Today, you'll be hard-pressed not to find a modern mindless blockbuster that contains more hard-hitting violence and gore. Yet, the film's message (and a depressing one at that) remains as strong as it was thirty-six years ago.
Must-see viewing.
The Conjuring (2013)
A rare decent modern horror film
Over the past 10-15 years, cinema-goers have been subjected to an endless parade of bland, watered-down and just in general uninspired horror films, with pathetic remakes of previous classics being a common occurrence. Therefore it's a pleasant surprise when a contemporary horror film pops up that actually provides decent scares, as well as a convincing plot and commendable cast.
The Conjuring tells the apparently-true story of the Perron family, who are terrorised by various malevolent spirits after purchasing a new house. Gradually these experiences become more intense, so much so that they employ the services of two paranormal investigators, played by Patrick Wilson and Vera Farmiga, to help diffuse the problem.
The film is excellent in terms of pacing, with there being a heavy reliance on the building of suspense, as opposed to resorting to cheap jump-scares every five minutes, a vice that most other modern horrors bear almost like a badge of honor. Small bumps in the middle of the night steadily mold into much more terrifying occurrences. I would liken the experience to the pacing in other evil spirit-related films such as the original Amityville Horror and The Exorcist.
The characters themselves are surprisingly more than just sex-crazed, teenage chainsaw-fodder. The various members of the Perron family all have unique personalities and traits, making them believable, and therefore relatively easy to relate to. Likewise, dialogue between the two demonologists, as opposed to just providing plot information, gives the impression of a genuine, loving couple.
The cinematography and mise-en-scene is perfectly suited for the film's creepy atmosphere, with dark, misty lakes and uncomfortable wide-angles and close-ups contributing to an overall, over-bearing feeling of dread.The film also successfully uses new techniques in terms of generating this deep sense of fear and unpleasantness, with for instance the game of hide-and-clap providing one or two memorable instances.
Ultimately, The Conjuring is by no means on par with classics such as The Texas Chainsaw Massacre or The Evil Dead, but nevertheless it is a drastic improvement on the standard toned-down, unimaginative rubbish that is repeatedly churned out today. There is a real sense of nostalgia for horror flicks of the '70's within the film, which were clearly used as inspiration for James Wan when creating this above-average shocker. Recommended viewing, for both fans of classics and new audiences.