Metropolis (2010)

Hopefully these first two reviews of the year will set a pattern for what I hope will be a varied and eclectic mix of films I will look at this year. One of the advantages of the technology available at the moment is that it is easier than ever to consume films that, up until a few years ago, would have been out of reach or purely unavailable. Similarly as my tastes have grown I feel more desire to mix up my viewing habits with a solid knowledge of film history, as well as the current crop of releases. 

All of which is a long-winded introduction to today’s entry, the 2010 re-mastered and extended version of Metropolis, a 1927 classic silent film. Whether or not you are acquainted with the film, it’s highly likely you will at least recognise its signature design and aesthetic choices that, arguably, are still the foundation of the science-fiction genre in film as we know it. German director Fritz Lang’s most enduring film is essentially a parable, something that is also common in the genre to this day, of class division and the need for co-operation between the ruling classes and the workers. As such the film plays out as Joh Fredersen (Alfred Ablel) the son of the leader of Metropolis leaves his life of luxury behind in order to find a woman he once glimpsed, which naturally takes him right to the other end of the social spectrum and to a true understanding of the nature of the city. 

Now watching any film from so long ago, let alone one with no dialogue, can be a challenge. Differences in culture, society and experience conspire against any kind of true reflection of what this film would have meant at the time, and the provision of suitable context in which to assess it. 84 years of cinematic development render many of the groundbreaking techniques less impressive now, but even coming to the film from my current perspective it is still an obviously impressive achievement. The sleek, futuristic design of the city of Metropolis is so engrained within modern notions of futurism that it seems obvious, rather than daring or new. Even with the limited technical abilities of the time it is rendered wonderfully, the art-deco design of the various locations, not to mention the robot character are truly amazing for the time, and must be applauded as such.

The lack of dialogue was not as much of an issue as it might have been, the title cards are sparse enough and the actors’ theatrical leanings emotive enough that I was never lost as to what was happening. Now this is also in part due to the difference the new footage makes to the film. I had not seen it previously, but due to the poor condition of the newly found and inserted footage it is obvious where the new scenes sit. Some are simply extensions of existing sequences (the flood escape at the end is a much more exciting and involving scene because of this). However some of it exorcises whole storylines and ideas, which help add flavour to the film and explain aspects of the story. Without these elements it becomes clear how elements of the story were previously never fully explained and so would have seemed random, or nonsensical. So whilst the film is now longer (even by today’s standards, nearly 150 minutes) it feels like a more coherent and complete version than would have previously been seen.

 

As to the film itself, well I enjoyed it. The ideas raised were interesting and I liked how the central themes wound themselves into the plot towards the end. I will not deny that the sheer distance of time and culture impacted my enjoyment, it was tough to really get into at times and slow in parts, but on the whole it was more remarkable how much I was able to engage with and follow. Overall it was easy to see why this film has such a reputation and high standing within the pantheon of film history, its look and style have informed an entire genre and the use of dream sequences, visions and metaphors seems remarkable even now. If you have any interest in film history then I would wholly recommend Metropolis, especially now it’s available in this extended form which brings it back to Fritz Lang’s original, and remarkable, vision.

Scott Pilgrim vs. the World (2010)

So the first film I review in 2011 is one I’ve already seen last year, but there is a reason why I want this to be here. My first viewing of the film was enjoyable and I liked it quite a bit. My second? Loved it. A lot. Now I’m sure there are myriad reasons for this, expectations, the visceral shock that the film can have on first viewing, or my acceptance and understanding of how the film works. For as well as being an ode to geek culture, and an impressively deep (for what it is) exploration of relationships and growing up, the film is also a full on comic-book action film and it’s juggling of these elements is key to both what makes it stand out so strongly as a film, and my slightly tempered attitude to it first time round. You see I like the fights in the film, each one is clever and unique, and helps push the story forward. They are also excellently put together and frequently a lot of fun.

But here’s the thing; they are my least favourite aspect of the film. The mix of genre’s is unusual and as such I cannot deny that a part of me would have enjoyed the film just as much, if not slightly more, if there was less action and more of everything else. The main reason for this being, just how damn good the rest of the film is, I am a sucker for stories about young people growing up and finding themselves and Scott Pilgrim is fantastic at this. The cast is uniformly wonderful, and I think the reason I was slightly down on the fights was that they took up time that, on some level, I wanted to spend with the rest of the cast and storylines. Not that the Scott / Ramona storyline didn’t interest me, I just think it interested me more when they were talking rather than fighting.

However if my main gripe at a film is that I wanted more of it, and that I would have swapped some of the, still very enjoyably, action scenes for more dialogue, then I think it’s safe to say I liked the film a lot. In fact it is perfectly possible that as I revisit the film in the future (I can already see it becoming a staple) that these criticisms recede further, the film is so packed with detail, care and  attention that I think it already lends itself to multiple viewings.

I could talk a lot more about the film, about Edgar Wright’s brilliant direction, about Mary Elizabeth Winstead’s steady march to the top of my crush list and about how great Michael Cera is in a role that, when you look at it, is quite a departure for him and how he anchors the film brilliantly, but these things are all elements of a film whose main strength is how well it pulls disparate elements together into a coherent and enjoyable whole. Along with Kick-Ass this was the most hands-down enjoyable film of last year and one that I think stands slightly higher in the long term, make no mistake this is a light hearted and enjoyably silly film at times, but it also has a lot on its mind and a depth that you may not expect.

I realise much of this review, as it were, has been about my reaction to the film, but this is how I want this new blog system to work, I have little interest in recounting the plot or working down a checklist of elements to grade. As it is Scott Pilgrim is a fantastic film (in case you didn’t get that), a film of such passion and confidence that is fully deserved to succeed to much higher level at the box office than it did. My hope is that over time its stature will grow and that more and more people discover and share the film and grow to love it as I do.

The 2011 Project

Hello? Hello...? Is this thing on?

OK so true to form, I took a little break there. Promises were made and broken, time passed. Governments changed and wars raged. Life didn't so much as get in the way as completely envelop my half-hearted aims for the blog. To speak honestly (as I suppose one is supposed to on such an occasion) I had set myself a wide range of topics to discuss on the blog, and then failed to really keep up with any of it. Too wide a net? Possibly, though not to lift any of the personal blame from my own lethargic shoulders. So, in customary New Year style, I find myself back here again, resolutions clutched firmly in hand, knocking resolutely on the door of 'let's try this again'.

But let's do things differently this time. The title of this post is important, I need to see this as a project and to get some focus, as my previous 'if and when I feel like it' attitude to posting clearly failed its field test. My focus this year will be to catalogue all the films that I watch, along with my thoughts on them. Partly, I confess, as a way of putting my voice out there, adding to the critical mass of conversation that defines the internet, but also as a personal record of what I watch and when, and my reactions at the time. I will record entries for all films new to me that I watch this year, but also, where appropriate, offer up some thoughts on films I am revisiting (an example of this will be found in my first review of the year as a matter of fact).

I will admit my inspiration for this is not completely my own, I have a friend undergoing a similar task to thank as well, but I hope that this will be a concept narrow enough for me to be able to keep up with, and, in time, a foundation to build on as well as a good way to get me back in the habit of writing on a regular basis.

So I will be back later with my first review of the year, if you are reading this then I thank you, and hope you will stick around to join the conversation throughout the year.

Oh and happy new year.

Flower

The debate of games-as-art has raged for a while now, the advancement in graphics and technology coupled with gaming’s increasing popularity and relevance to modern culture make such comparisons and questions inevitable but it has been a topic I feel has slightly missed the point. To compare any two mediums in their definitions as art would be to do each a disservice, if we wanted our games to be like films, then why not just go and watch a film? I love the fact that this generation of games has really allowed the smaller developers and teams to have an outlet for unique and unusual games that they previously wouldn’t have had. Each of the three consoles has their own download system for games, be it Wii-ware, the Xbox Live Arcade of the PlayStation Store. Last week saw the release of Flower on the PSN, the game, from the creators of FlOw, pits you as a petal (or collection of petals) and uses the PS3 motion sensor to guide you through levels restoring the land and riding the wind. It is a wonderfully original and fresh game and one that is instantly captivating. The graphics are stunning artistically and technically, and the music is a vital part of the gameplay, the two combining for a relaxing and meditative experience.

But what really impresses about the game is the way it manages to be emotionally affecting, and string together a narrative across its 6 levels without text, characters or dialogue. The game is best played all the way through and I won’t spoil anything, but the way the narrative arc of storytelling is wound into the gameplay is very clever and affecting. The game is also very subtle about things though; through my time with it there came a point where the game was a bit frustrating and a lot less fun. The levels start to darken and the atmosphere becomes gloomy and oppressive, and the way this affects your play is remarkable. But those who stop here, or play in chunks would be missing out on the release that comes from the last level. The game is structured so that from your extreme response to one level, your reaction to the next one is enhanced. And so the final level becomes a joyous turnaround hinged on restoration and renewal. But such a level would not have had the impact without those that preceded it.

Now this is a common style used in other mediums but this is the first time in such an abstract way I was aware of it being implemented so successfully into a game. But even without this the game is a real treat, it is only £6 to download and in my opinion is worth it hands down, the levels have hidden secrets and paths and the mechanics of the game itself are so fun and enjoyable that you will find yourself returning for a quick 5 or 10 minutes every now and again even after completion.

There really is balance for small games to co-exist alongside the big-name titles now and I’m sure that we are only now scratching the surface of the potential for new experiences, and I for one am excited to see where we go from here.

Little Big Planet

It’s funny how character and personality can help define a game in so many ways. For all that graphics and gameplay and content are banded about as key-words within games criticism, it is often those games that above and beyond all that, manage to convey a sense of uniqueness, or life beyond mere pixels, that stand out and garner attention. In recent times no better example of this can be found than Little Big Planet, Media Molecule’s much-hyped creation-based platformer which was so proudly touted and displayed by Sony at games conventions for the past few years. Now that the game has been released, to a positive but somewhat muted reception critically and sales-wise, and I have had the chance to put some time in with the game I feel it worth writing about in terms of not only its use of character and style but the place it could play in the years to come as an example of where much of the gaming industry could be heading. Charm-wise the game is a winner, the universe that has been constructed is wonderful and consistent, the whimsical nature of the story and the levels is balanced out, never becoming too twee or swifling. The choice of Stephen Fry was a masterstroke and lends the tutorials a wonderfully British sense of not only humour but construction as well. The makeshift nature of the game works in its favour, the way levels are built out of cardboard or wood and the way bosses and enemies are bolted together out of separately designed parts work as a constant reminder and as a sort of in-game tutorial to what is possible with the creative tools on offer. For much as Little Big Planet is a fun and enjoyable platform game in its own right, to only scratch the offline sections of the game is missing the game’s real point. What Little Big Planet wants to do is offer the gamer the same tools that the creators have, then encourage you to go out and build something yourself. A great deal of work has gone into making the level creator on offer as flexible as possible, whilst keeping it simple enough to use. Delving in for the first time is a bit overwhelming, and there has been a certain sacrifice to ease of use that comes with a depth of complexity but generally the range of tools on offer has been perfectly balanced to not be overwhelming, but also not limiting either in allowing you to create whatever you envision on the screen. All this takes time and dedication of course, and there will be choruses of gamers unwilling to put in this time, or who have no personal inclination to make use of the tools, however these people can still browse the hundreds and thousands of user created levels that already exist, allowing the game to continue on gaining new content day by day, with no effort from the publishers. As you would expect from such a vast pool of creative talent great things will emerge, and whilst it has taken a while the standard of levels now being found is very high, and it doesn’t take much searching to find new creative and enjoyable levels to play. What is most impressive really is the variety of game styles, the game does not limit you to mere platforming and so you get levels that are races, or time challenges, or merely passive rides where you bear witness to music or scenery. With the addition of the latest Metal Gear Solid themed update the element of shooting a paintgun has been added which has changed a lot of the possibilities for design once again. Overall Media Molecule have done what many doubted they could and delivered on what they said they would. As an overall package Little Big Planet stands as a great example of not only a game with a distinctive and unique voice and style (the game really would not work with a more generic and traditional sheen), but one that paves the way for gamer interaction within games. The community that can be built up and the support that is still to come in the future means that hopefully the game will remain fresh and relevant for a long time to come, and encourage other developers to think along the same lines, blurring the lines between the finished box on the shelf and the life a game can take on once it’s taken home and embraced by the consumers.