In the early 1990s Shane Black was the go-to guy in Hollywood for action blockbusters. After the success of Lethal Weapon his script for The Last Boy Scout was famously one of the most expensive ever sold, and having read most of it a few years back I can see why. His writing is funny, sharp and fast paced and very distinctive, it is a shame then that the actual film that resulted from this was so disappointing. Now I don't remember much of the script I read, and I don't doubt that some of the fault for the film lies at Black's feet, but by hiring Tony Scott (fresh from the success of Top Gun and Days of Thunder) what was a light hearted and offbeat buddy comedy is turned into a much more leaden action fare, with little of the spark or wit hinted at in those pages.
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Bruce Willis plays Joe Hallenbeck, a washed out and highly dysfunctional private detective who becomes embroiled in a high stakes case involving a senior politician and a pro football team. Along the way he (reluctantly) partners up with Damon Wayans' ex-footballer and hi-jinks ensue. To be fair to the film looking back now with the weight of 20 years worth of similar buddy-cop films on our culture's shoulders does it few favours. The typical beats are all here, the mismatched partners, the involvement of the hero's family (in this case his daughter, who mainly comes off as annoying) and the big explosions. The film has some fun set pieces and the performances are fine (Willis does a good line in downtrodden hardmen with a heart of gold), but as I mentioned lacks much to really set it apart. A couple of weeks after seeing it much of the film skips my mind, it's characters never quite gelling, and it's storyline forgettable.
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If you are in the mood for a fun and offbeat buddy cop film then may I steer you away from this and into Shane Blacks recent directorial debut Kiss Kiss Bang Bang, which is superb and everything you get the feeling he intended this to be, it just took a little while for him to get it right.
In the current culture of remakes and re-imaginings Let Me In is notable for a few reasons, firstly it was released just two short years after the original film (itself an adaptation of a book), which was a critical success in its native Sweden and abroad, it was a film I saw and liked a lot. The other notable thing about Let Me In, is that it is a film that is genuinely worthy of discussion in its own right, this is no cynical cash in, it preserves the key themes and emotions of the original, whilst putting a slightly different spin on the story.
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The film tells the story of Owen, a lonely and troubled boy growing up in the early 80s in the isolated town of Los Alamos, New Mexico. His world is shaken by the arrival of Abby, a mysterious girl whom he befriends. It is clear from the off that something isn't right about Abby and the creepy man she lives with and soon enough Owen is drawn into her world. The transposing of the original film's location to the US works surprisingly well, writer and director Matt Reeves (Cloverfield) has used a lot of his own personal experience growing up in a small town to make the early scenes feel authentic and constrictive. Kodi Smit-McPhee plays Oscar, while I wasn't particularly impressed with his work in The Road last year here he really shines, he has an awkward disposition that immediately signals Owen out as a loner, yet he keeps the simmering resentment he harbours always just below the surface. Fresh from her brilliant work in Kick Ass Chloe Moretz once again shows why she is so highly regarded with her work as Abby. She is less alien and strange than her equivalent in the original film, her Abby is more beaten down and repressed. She hides a well of sadness in her eyes throughout and it is a shockingly effective performance that she is able to convince as a 12 year old girls, and something much more dangerous.
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The way the kids relationship is built up is masterful and engrossing, Reeves dials back many of the peripheral characters to focus in on a minute scale and it works to highlight the character's isolation and, despite all the events that surround them, makes their scenes together sweet and warm. However it is difficult, if not impossible, to discuss this film without the shadow of the original hanging over it. If you have never seen Let the Right One In then Let Me In is every bit as effective, sad and well constructed. But if you have, it can be strange to see certain scenes and shots copied almost verbatim. Similarly is is hard to get out of a mindset of comparing preferred versions of scenes, or characters. With all the good intentions in the world, this film is inextricably tied up with its history and your experience with this will impact your viewing.
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I think with the task at hand, Matt Reeves did just about the best job he could have done with this story and these characters. Michael Giacchino delivers another fantastic score which bridges the gap between horror and quieter emotional moments effectively, and Reeves steady hand refrains from holding back on many of the films darker and more uncomfortable moments. In many ways Let Me In is my favourite version of the story, but the pure fact of it arriving second, and is re-telling a familiar story will always hold it back in many people's minds, which is a real shame as there is a lot to admire here.
The weight of expectation that surrounds any film viewing could scarcely be higher than with Citizen Kane, the film has, in the decades since its release, taken on a meaning all by itself as representing the pinnacle of a medium. Its frequent position at the top of Best Film lists make it very hard to watch with any sense of objectivity. However seen as just a film, and with the cultural and contextual knowledge of the time in which it was made, there is little denying it's innate power and quality which, I must admit, surprised me.
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The film itself is a biopic, about the fictional Charles Foster Kane, media mogul and philanthropist, which begins with his death and then follows a series of journalists who attempt to unravel the mysteries of his life. This is interspersed with flashbacks, and the construction of the film is the first thing that really caught my attention. For this time this twisting structure would have been very radical, and even today with films like Memento and Pulp Fiction establishing unconventional narratives, Kane still impresses. This structure allows Orson Wells (who co-wrote, starred and directed film) to built an impressively rounded picture of the man, Kane and his ambiguousness as a character keeps you interested throughout.
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It is widely known that Wells was just 25 when he made Citizen Kane, but watching the film anew, as well as his remarkable performance just drove the scale of the accomplishment home to me. The film exudes a brashness and confidence of much more experienced film maker, and to attempt a film of such a scale and scope, utilising so many new techniques (such as long single takes, and shots that play with depth of field) whilst telling an engrossing and winding narrative, seems foolhardy. To succeed, remarkable.
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Wells portrayal of Kane anchors the film and he convinces both as a charismatic and driven young man, and the bitter and monstrous man he becomes in his later years. The film is not afraid to delve into dark areas, Dorothy Comingore plays Kane's second wife Susan, and her story is sad and the later shots of the pair of them, along is Kane's massive complex that he built for himself, are haunting.
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The film is somewhat slow compared to modern films, but still moves with verve and style and I found it always engaging. It's black and white cinematography is remarkable, the deep shadows and encroaching darkness symbolic of Kane's own descent into isolation. The film feels masterfully constructed, a singular vision of a singular man that fully deserves its place amongst the history books.
For the proliferate amount of romantic comedies that are unleashed each year, there are surprisingly few which manage to present a somewhat realistic look at love and relationships. To find one seemingly gimmick free and which avoids many of the genre's conventions is a rare occurrence, Going the Distance is very nearly this film, an unusual mix of Apatow style heart and profanity, crossed with a traditional rom-com.
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Drew Barrymore and Justin Long star as Erin and Garrett, two people who meet one summer and start a relationship, the trouble is that Erin is just in town on a scholarship, as soon as she has to move back to the other side of the country the pair face a decision, do they call it a day, or try and make it work? That is pretty much the crux of the film and it is to its credit that the filmmakers don't feel the need to chuck extra obstacles in the couples' path. It helps ground the relationship and film in a reality you don't see so much in these films, each person trying to find the balance with each other and their own lives and friends, and doesn't sugar coat the difficulty that accompanies long-distance relationships.
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What is slightly disappointing then is that the film lacks the conviction to really set itself apart from the genre's conventions. It's almost as if for every moment they veered off track, the studio was pushing them back again, so while you have a more toned down and emotionally real central relationship, the periphery of the film is populated with variations on the stock rom-com friends, room mates and family. So cue the wacky best friends who must be the source of humour, and be offbeat and weird. Christina Applegate plays Erin's sister, and their relationship feels true and sweet in its own way, but her downtrodden husband and quirks again just seem pasted in from another film at times.
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Similarly the main beats of the film are very recognisable, but none of these is enough to spoil the film, this is largely thanks to the strong main performances from Barrymore and Long. They have a history away from the film and it shows, the two have real chemistry and play off each other well. Equally the rote supporting roles are all ably covered, and provide some funny moments, but it's more their juxtaposition with the story that feels disappointing.
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Overall I still enjoyed the film, it is sweet and feels like a more honest and mature relationship film than you typically see, it's just a shame that the makers didn't have the ability to fully realise this without concessions to the genre that ultimately make the film feel a bit disjointed.
First, a confession. I don't think I have ever watched an entire episode of the A-Team, it just wasn't something I ever had contact with. Maybe it was a bit before my time, or more of an American phenomenon, but I was able to bring very little prior knowledge (outside of the obvious catchphrases and theme tune) into the recent film. Looking back this probably worked out well, as I have no prior connection to these characters, and whilst the TV show was hardly revered in terms of quality it was still a property it was clear that many people feel strongly about.
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Joe Carnahan was the man tasked with the job, and I think he pulled it off. There have been many recent attempts at big budget, silly action films in recent years (the Losers is the most obvious example) that have failed to really strike the right tone and stretch their ideas over a whole film. Here it seems, thanks to the excellent cast and some wonderfully conceived action sequences the whole thing comes together and, for the most part, just works.
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The plot, as it is, begins with the formation of the titular Team and then skips ahead to when they have become a successful part of the military, taking on the missions others won't touch. However during one key assignment, they are framed for murder and robbery and forced to scatter. Naturally the team reforms and sets about dishing out some justice and clearing their names. With an ensemble cast such as this is is important for each member to shine, and for the group dynamics to play just right. Here is where the film gets it right, Liam Neeson has had a bit of a late career bloom as an action star and he captures the intelligence and swagger of Hannibal just right. Sharlto Copley, fresh from the success of District 9 is all over the shop (in a good way) as Murdoch, convincing as a man living right on the edge of his sanity. Bradley Cooper takes all the charisma he's been building from film to film to Face and, in possibly the most iconic role, former wrestler Quinton Jackson steps up to the plate admirably as BA. The four (and Jessica Biel playing Face's ex and their contact within the military) play off each other well, the unit feels like one that has been together for a while and the whole cast balance the humour and the action well, never tipping it into pure silliness, but not taking the film, or themselves too seriously either.
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The usual action film beats are all present and correct but executed with real flair. The film starts ridiculously and only gets bigger and crazier from there. For this you are either along for the ride, or out. Personally this can be hit or miss for me, but here it works well. The CGI is fairly decent and never too distracting and Carnahan has a knack for staging sequences in a way that is easy to follow but exciting and entertaining as well.
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It's a shame then that the films climax disappoints slightly, it builds well and has some nice ideas but it's always difficult to try and top what has come before, and provide a satisfying conclusion to the story. Similarly the familiar nature of the story plays against the film at times as certain twists in the story are signposted early. Ultimately this isn't a film of much lasting value, but at the same time when compared to a lot of the recent crop of similar blockbuster fare the A-Team can stand proud as one of the most genuinely entertaining and enjoyable in recent memory.
David Lean's adaptation of Noel Coward's play Still Life is widely regarded as one of the great British films ever made, and classically referenced as an example of on screen romance. It tells the story of chance meeting of two characters while waiting for a train, despite the fact they are both married they continue to see each other, and the film traces the development of their relationship. What stands out about the film, watching it now for the first time, is the huge shifts in cultural attitudes and values since the film was released. Even by most modern soap opera standards the relationship depicted in the film is very tame, we have become overly familiar with the story of people having affairs and so it is important to recognise the environment in which this would have been released. The guilt and trepidation with which both parties enter into the arrangement seems quaint, but strong work from the two leads help sell their conflict.
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The film's origins as a play are evident, it is a very enclosed and small film in many ways. There are only a handful of characters and sets, but David Lean makes the most of it, the shadowy black and white adding an extra element to the elicit encounters, the smoke and noise that accompany the steam trains that are the backdrop to the whole film have become synonymous with torrid romances. The film also manages to be quietly moving, the motivations of both characters are well defined, and though there is a healthy dose of melodrama it is restrained enough not to overpower the film.
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As per the title the film is relatively short but then so is the story it is telling. I can see how it has garnered the reputation it has, and the drama is well played out, but I think the cumulative weight of similar stories in all manner of media has watered down the films initial impact. Still for any film buff interesting in the history of British cinema, Brief Encounter is a fascinating and enjoyable look at the way we were.
For my money some of the best and most exciting cinema of recent years has come out of South Korea, while the release of Oldboy did much to bring the nation to people's attention there is still little mainstream recognition for much of the region's recent output. This is understandable, but still a crying shame. Joon-ho Bong, director of the excellent Memories of Murder sticks to somewhat familiar territory with his latest, it's another murder mystery of sorts, but rather than detailing the case from the police perspective we follow the titular Mother (the remarkable Hye-Ja Kim) whose son is accused of murder after a drunken night out. To complicate matters her son Yoon (Bin Won) suffers from relatively severe learning difficulties and is easily coerced into an admission of guilt. With no-one listening to her pleas of innocence Mother sets about investigating events on her own, her dogged determination testament to the guilt she harbours for her sons upbringing and situation.
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Mother opens bizarrely and only goes on from there, it's lack of conventional plotting and mixing of genres (police procedural, dark comedy, family drama) is typical of this new Korean generation of films and Joon-ho Bong shows a masterful sense of control over film right up until the final, haunting frames. The acting throughout is fantastic, as mentioned Hye-Ja Jim is mesmerising as the Mother, her obsession and fear are tempered by a vulnerability that keep her empathetic despite some of the extreme lengths she starts to go to as the film progresses. Bin Won as her son is equally impressive, he embodies Yoon with such humanity and childlike innocence but he never takes the easy, clichéd option, instead creating a much more layered character than I was expecting.
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As seems to often be the case with the recent Korean output the film is gorgeous, the naturalistic tone of the run down neighbourhoods balanced by the sweeping cornfields that bookend the film. Most of all this is a film that exudes confidence throughout, it's a bold thought provoking story that kept me hooked throughout.
Mark Romanek is not exactly what you would call a prolific director, starting with music videos his only other film to date is 2002's One Hour Photo, an effectively creepy thriller with a great turn from Robin Williams. With Never Let Me Go his understated style returns, but this time in service of a much warmer and deeper story, the result of which is a touching and quietly affecting film of real power and which makes me hope it isn't another eight years until his next film.
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Based on the novel by Kazuo Ishiguru the film tells the story of an alternate reality, in which cloning was invented in the 1950's and used to cure disease, but at a cost. The film centres around three main characters, and traces them from childhood where they lived together in a boarding school to adulthood, where the true nature of their lives is revealed. It's not exactly a spoiler to discuss elements of this, but I will attempt to refrain as the fresher the experience the better. What is remarkable about the film is that it manages to deal with big life questions, on a very small, intimate scale. The film is technically a science fiction film, but is set in the past and it's a unique take on a genre that has always worked best when belaying parables about our lives through a filter..
Carey Mulligan, Kiera Knightly and Andrew Garfield play the characters in their adult lives, and the combination of the three makes for interesting dynamics. Mulligan who was so impressive in 20087's An Education again shines here, her Kathy is shy and sensitive, she bonds with Garfield's awkward Tommy at school, only to have her best friend (Knightly) steal him from under her. The film chooses to spent a lot of time with the young versions of the characters, and it pays off. The child actors are all remarkable (Izzy Meikle-Smith is the spitting image of Mulligan) and really ground the characters from the start. It's a bold move to hold your main cast for the first third of a film such as this, but it pays off.
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Both Garfield and Knightly impress as well, I'm not always the biggest fan of Keira but she brings a flinty selfishness and vulnerability to Ruth, especially as the film progresses. Andrew Garfield continues his great work from The Social Network here, his Tommy is repressed and full of heart and his inherent likeability lends real emotional heft to the film's climax.
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As well as being wonderfully acted and photographed what is refreshing about the film is the restrained and mature way it deals with the issues raised, which can be as large as what it means to be human, and the way we deal with death and suffering. Romanek and writer Alex Garland avoid many of the genre cliché's and negate your expectations throughout, there is a resigned inevitability to the way events play out that may not make for the most cheerful viewing, but lend the film a bittersweet tone that is echoed in it's palette of golds and browns. Never Let Me Go is a slow burn of a film, but one that seeps into your heart and stays with you in its own, quiet, way.
