Dr Horrible's Sing-along Blog

Joss Whedon, possible man-god has a new project, conceived during the writers strike and available to watch free this week. I will say no more but click along and enjoy. Part 1 is available now, part's 2 and 3 will be released later this week. Dr Horrible's Sing-along Blog If only he could be involved in every TV show...

Indiana Jones and the Kingdom of the Crystal Skull

Nineteen years on from his last adventure the return of Indiana Jones has been the talk of the industry lately, any introduction or re-capping of the film is largely unnecessary here, others have covered Indy’s comeback in more detail and in greater depth than I could. Still in doing so quantifying the actually film becomes difficult, how do you separate out the feelings of expectation? Or the inevitable comparisons to the earlier films? In truth I don’t think you can, we all bring baggage to every film which is what makes them so fascinating and interesting, it is our own personal reactions that matter, and more than most the Indiana Jones films are personal. Many people have grown up with the films either at the cinema or at home and the reverence for the series means that any new entry will be scrutinised, loved by some and derided by others. This is just such a film, and watching it and thinking back on it I can now both see why people would not like it, and why some would adore it. Thankfully I fall much more heavily in the latter category, the film is not without its flaws, but it also irresistibly entertaining and fun and shot with the style and wisdom that only comes from someone of Spielberg’s experience, that he brings his top game to the film helps smooth over many of the cracks that may threaten to otherwise derail the film. Set in 1957 the film cleverly uses its timeframe as an advantage, the use of Russians as the bad-guys and the nature of the crystal skulls all play heavily on the iconography of the era, early scenes that play with the suspicions of communist spies and nuclear warfare play well against Harrison Ford’s now older Indiana Jones. He is not the same man he was before; age has taken its toll in some ways and the shift in tones help give the movie a different feel. Spielberg’s period films are always fascinating and the way the 50’s is recreated, especially in the opening hour is expertly done, throughout the film is masterfully shot and gives a more filmic and authentic feel. In fact the strongest section of the film is the first hour; it is slower but intriguing with a good set-up and mystery. A large part of this is due to the character of Mutt, Shia LeBeouf has taken a bit of a hit for this film but I thought he was great in the role, engaging and prickly and had good chemistry with Ford, if anything it is the nature of the character that will conflict people rather than the way it was handled in the film. Once the characters reach the rainforests of South American the action kicks in and whilst some of the sequences are expertly handled and exciting some suffer from an overuse of CGI and the fake look dampens the tension, despite promises of ‘old-school’ filmmaking there are a few key scenes that are plagued by this issue and whilst some of the effects in the film are breathtaking (one shot at the end definitely fits this bill) others stand out and take you out of the film. The ending as well is probably the weakest part of the film, it’s not bad per-se but just involves characters re-acting to events out of the their control, Indy doesn’t really take control in the way that he used to and the lack of clever puzzles or booby traps is a bit of a disappointment. There could also be criticisms that the supporting cast is under-used throughout, John Hurt’s crackpot professor has very little to do and whilst Cate Blanchett is obviously having a ball in her role as the main villain, she isn’t given enough to do at times and her supposed psychic powers are never actually utilised. Ultimately though the film won me over, it was entertaining, slick and fun and most of all felt like an Indiana Jones film. It was definitely strange seeing one on the big screen for the first time and getting used to Harrison Ford in the role again after all this time, but at the end of the day the film maintains the pulp sensibilities of the original films with enough verve and wit to pull through the awkward patches. These films were never realistic or serious and with adult eyes it is harder to view this film in the same light as the originals, there are films best watched with the eyes of a child, for escapism, heroism and adventure. For all that could have go wrong though Kingdom of the Crystal Skull is a minor triumph, it is by no means perfect but somehow manages to overcome its myriad of flaws to become an entertaining and fun piece of cinema, if you let it. The nitpickers will have a field day and many could well be justified in hating it, but for the rest of us we won’t care, we will be off once again with Mr Jones, enjoying the ride. Indiana Jones is back, whilst the setting and character have changed a bit over the years the sensibilities remain spot on and as long as your willing to let go and enjoy it there is a lot to like here. Despite the odd jarring moment this is, for the most part, a blast, quite literally, from the past.

Be Kind Rewind

As previously established Michel Gondry is an odd fellow. His previous films Eternal Sunshine and the Science of Sleep have impressed me greatly (I haven’t seen Human Nature, which by all accounts is how it should be) and the premise for Be Kind Rewind intrigued me as well. In fact its refreshingly bonkers, the kind of surreal and idealistic idea you might pitch one day thinking it was funny, turning that into a fully fledged film however is another matter. By now I’m sure you know the premise, small time video shop on the brink of closure accidentally has all its videos erased, leaving the hapless Mod Def and Jack Black to re-create the films using their home video camera. Naturally the making of these videos are the highlights of the film, Gondry’s low budget sensibilities and creativity are in full swing and he constantly manages to find hilarious ways to spoof and lovingly homage some classic and not so classic films. What is great about the film on the whole is its earnest goodness. There is barely a bad bone to be found in the film and its good natured humour is unlikely to produce full on laughs, but you will smile throughout. The story is oddly mixed, the back story of a jazz musician by the name of Fats Waller is tied up with the store and its owner, played with a sweet levity by Danny Glover. Whilst these threads of the plot seem disconnected at the start they are weaved in well to the video shenanigans to set up the films touching finale. In fact as much as the film is about creativity and expressing yourself, it is also about community and town spirit and the scenes of neighbourhood people getting involved in the films and helping out are moving, and bring back a lot of personal memories of my teenage years running around with a video camera and the bond that provides between friends. Mos Def continues to impress after his turn in the Hitchhikers Guide to the Galaxy, his earnest pained expressions are endearing and he has great comic timing, Jack Black is fairly unrestrained in the film and whilst his character easily comes across as obnoxious and annoying, he has just the right amount of empathy to traverse this and his manic energy is certainly infectious. With all that said the film does have its flaws, the story is thin and the impending sense of doom over the fate of the shop never carries much weight. Outside the main characters as well there aren’t many memorable faces, Gondry keeps our investment at a distance, the entertaining humour at times masks the films lack of depth. But that is not what this film is about, as an ode to imagination and community spirit Be Kind Rewind is a success and one destined to warm your heart and put a smile on your face. Another creative explosion from Gondry this is perhaps his slightest film yet, but his inventiveness and heartfelt message, along with some good performances, pull it through in the end.

Juno

The runaway surprise hit from last year Juno is an indie film which achieved that rare quality of crossing over to mainstream popularity. The debut of writer Diablo Cody it tells the story of the titular Juno, a smart-alec, wisecracking teenager who discovers one day she is pregnant. Rather than freak like most people would she is pragmatic about the situation and sets off to find a suitable set of adoptive parents for the child. It is during this search she finds the Loring’s, a seemingly typical suburban family played with great subtlety by Jennifer Garner and Jason Bateman. Of course alongside this Juno has to deal with the fact of being pregnant, telling her family and, of course, sorting out how she feels about the father, another great turn from Superbad’s Michael Cera as Juno’s on/off endearingly geeky boyfriend. With its own distinct rhythms and offbeat sensibilities Juno is a film that stands out immediately, though in fact its opening 10 minutes are so feel rather forced, the distinctive dialogue trying too hard, thankfully this doesn’t last and it quickly settles into its skin as an entertaining, very funny and yet also heartfelt drama. The performances are excellent throughout, Ellen Page was born to play Juno, her attitude is priceless and yet the character never comes across as a caricature, or as unlikeable. The direction the story takes is unexpected as well and the film manages to be surprising yet believable throughout, its characters flawed yet human. There is a small scene later on in the film between Ellen Page and Jennifer Garner in a shopping centre that is wonderfully touching and acted, yet restrained. In fact despite the vibrant nature of the main character Juno is a small and understated film and is all the better for it. Its quirky soundtrack is a perfect fit, each of the songs distinctive and evocative, they help rather than hinder the on-screen action. Overall Juno comes highly recommended, for those with a slightly alternative view of the world, or on the lookout for something different this could be right up your street. Never quirky just for the sake of it this feels like a genuine extension of one person’s worldview and that the case and director have gone along with it makes the film stand out. Aside the from the awkward opening this remains a confident and assured film that will keep you laughing and smiling long after the credits have rolled. Ellen Page excels in this indie comedy with heart. It’s easy to see why Juno became such a success, if you haven’t seen it yet then give it a go, you just might fall in love.

Sunshine

Director Danny Boyle is known for his knack of switching genres on a hatpin, one of Britain’s most successful directors of the past ten years he is someone who’s output is always interesting and who’s desire to test out new waters is admirable is a culture where ‘stick to what you know’ is often the mantra. After the Gritty drama of Trainspotting, the dark humour of Shallow Grave, the family friendly Millions and the horror of 28 days later, he now turns his hand to Science Fiction, a genre cruelly under utilised in recent years at the box office, intelligent sci-fi even more so. The story concerns a team of astronauts who set out to fire a massive nuclear bomb into the to sun to try and ‘re-ignite it’. You see the sun is dying and without this mission all hope for life on Earth is lost. We start the film with the mission already in motion, much in the vein of films such as Alien and 2001 this is a film as much about isolation, paranoia as it is whizzy technology. The ship itself (the Icarus, naturally) it refreshingly low-tech, it feels real and lived in and is a way away from the clean futuristic sheen found in most sci-fi nowadays. The crew is an interesting bunch, the most recognisable name is probably Cillian Murphy again impressing in another quite different role though the dynamics and performances throughout are excellent and there is a real sense that these guys have lived together for all this time. Naturally things don’t go to plan and as the ship approaches the sun the pressure greatens on the crew, the power and beauty of the sun is a repeated theme throughout the film and the way it is shot is stunning. In fact the film itself is a visual treat, created on a fraction of the budget of most Hollywood blockbusters Sunshine is a masterclass in visual management, the searing rays of the sun are perfectly captured and one sequence set on the outside of the ship is stunning. That the film shifts gears fairly dramatically towards the end comes as a bit of a shock to the system, I won’t spoil anything but it feels like a bit of a step down to more traditional fare and the ambiguous and downright bizarre ending will alienate as many as it pleases. Still even with these slight flaws this is an excellent, intelligent film that manages to cobble together elements from loads of other science fiction films and yet create something new and exciting. Always fascinating this is a brave effort that has hidden depths beyond the surface. A successful blend of intelligent sci-fi coupled with Boyle’s unique vision make this one of the most interesting and debatable films of recent years. Stunning to look at and thought provoking to the, admittedly less successful, end.