Interstellar Review

A truly lapsed film critic I am. No meaning behind the Yoda like wording to that but I have been very lazy in my committal to typing out my thoughts on films. Once again a film has roused me into dusting off the keyboard and setting to reviewing. Christopher Nolan is a name that gets my attention when it comes to choosing what to see in the cinema. In fact there are a good four films I would very much like to see at the moment (Mr Turner, Nightcrawler, Fury and The Imitation Game) and I've ended up seeing Interstellar twice. So obviously the jig is up already, I like this film . . . a lot. However like any good film critic I'm not blind to it's potential flaws and where it may possibly lead people to not want to line up to see it again.

I have a real fascination with space, like every kid that played with action figures and was brought up on a steady diet of Thunderbird's and Star Wars, I dreamed of being an astronaut at some point. I love looking up at the sky and wondering what life is like in the solar systems of those stars and the galaxies beyond. So space films always excite me, and when I heard Christopher Nolan was going sci-fi for his next picture I'd already strapped in for the ride.

Interstellar centres around Cooper, an ex pilot turned farmer since Earth slowly becomes uninhabitable due to a barrage of dust storms and blight that destroy crops. A twist of fate and a little persistence from his daughter Murph leads him to discover that there is a plan to save the human race. He must leave his family on Earth with no guarantee of when or if he will come back from a mission to discover a new home for human civilisation.

From the outset I was drawn in to the film, Matthew McConaughey is a perfect casting choice for Cooper, and not only that, he's in an imagined future that feels real. Life on Earth is simple, in fact it's almost idilic, if it wasn't for the dust storms. Cooper does what he can to support his family but his sense of adventure is still there, and it's palpable. His ability to do anything at the drop of a hat is underpinned in these first revealing set pieces of the film. The supporting cast lay some real emotional groundwork as Mackenzie Fox who plays young Murph delivers a terrific performance and really sells the gravity of the situation when Cooper leaves with no idea when or if he will come back.  

Once we're off on our adventure the film wows and blows your mind with fantastic visual effects and adventures in to different horizons that bend time and space. You will be forgiven for not keeping up entirely with the concepts first time around. I love that Nolan has faith in his audiences ability to digest complex ideas that do take some serious concentration. His exposition of these concepts that appear throughout the movie are sometimes a little unwarranted, however in some cases you may find yourself thinking 'what the hell did he just say?'. However if you could play along with Inception, which is a lot easier to get your head around in my opinion, then you'll likely take most of this on board and make it through to the other side without scratching the skin off the top of your scalp.

Not fully understanding some of the jargon will not detract from your enjoyment here, the main focus is on Cooper and his drive to get home and to do anything it takes to get there. There are parts that feel a lot like Sunshine here as questions are raised regarding the motives of characters and how their goals could effect the course of the human race. Similarly like Sunshine and 2001: A Space Odyssey the visual effects and the visualising of space as something dangerous, haunting yet wholly exhilarating is there.

In a time where CGI has begun to look nearly unnoticeable it takes a film maker like Nolan to really hold the kind of people who use it like a crutch to account. The second you see these great space ship models with fantastic real lighting falling on them you have a greater belief that this is real, the more you can convince yourself of that, the more immersed you become. Throughout the film there are moments where other filmmakers would have used computer effects to fake things, but here the effort has been put in to make things real where it's deemed possible. It's a tactile environment, the hyper sleep pods, the ships the interiors and the robots that travel with the crew a lot of time it's all there in camera and you notice it. There are robots on board with the crew, and these are stupendously realised. Earlier scenes give the sense of 2001 or Alien where the robot could be deemed as sinister, but further in the film these rectangular creations will surprise and even make you crack a smile.

What also lifts the film is the use of the soundtrack. When Hans Zimmer works with Nolan you're likely to think ok so more electronic big bass noises reminiscent of The Dark Knight or Inception, and this is what I expected. However he's gone for big, but with church organs! The first flurry that arrives very early in the film is uplifting, it feels grand and adventurous and as the film progresses the swell just gets bigger. I instantly looked up the soundtrack after seeing this and have had it on several times, it's great.

The story as whole is focused on Cooper and Murph and how their relationship effects the both of them even when separated by hundreds or thousands of light years. Within this there's a drive from the astronauts and the scientists to quantify and understand, time, space and gravity . . . oh and love. If you buy it then the ending will feel like a good fit. I for one liked it and it made sense given the start point of the film and the themes that underpin the plot throughout. I suppose it might have been nice to leave it open like Nolan has the propensity to do, but here you get a rounded ending that I thought was satisfying. Others have not enjoyed it so much, and I can see the justification, but as a whole I really enjoyed this. So much so I went to see it again and loved it even more second time around.

★ ★ ★ ★ ★

Boyhood - Review

Ok so it’s been a while since I wrote anything to do with film (nearly a year . . . yikes). Namely it’s been down to a lack of time and in all honesty a thought that giving voice to my opinion on film was a waste of time, but as a I type I realise how therapeutic it is and if just one person takes something from what I say then it’s probably worth it. A looong time ago I said I’d be back, well I’m here, and it’s because every film I’ve seen lately has been a stand out in some respect and I feel the need to share an opinion or thought about them. This morning I watched Boyhood and it was so stand out I felt I needed to tell the world (well anyone who might read this) about it.

I am a Richard Linklater fan, more so when he’s penning his work as well as directing like Dazed and Confused and the Before trilogy (the third of which I've still yet to see!). His outlook on life and in particular suburban America is always well toned and rather than being one-sided is always objective in the way he looks at his characters. He also has a great ear for music. Boyhood is a project that has been in the making for over a decade. The film charts the upbringing and growth of a young boy, Mason as he changes with age he faces the decisions and emotional difficulties of growing up with separated parents. There is definitely no film like this as we see snapshots of this boys upbringing with the cast around him also going through the same thing, when we first meet Mason, played by Ella Coltrane, he is 6 years old and by the end he’s just started at University, no tricks just good old fashioned ageing and obviously a great deal of patience on Linklater’s part.

The patience and the ambition has truly paid off. This is endearing work that in different hands might feel woefully long and boring. However the observations in the film such as the fads of the times Mason is brought up in, the big questions about life that crop up in his teenage years, that feeling of being a child and those definite moments you recognise from your own upbringing make for a enriching 2 hours and 20 minutes. Not only his own moments but the trials and tribulations of his separated parents, played brilliantly by Patricia Arquette and Ethan Hawke make this a film that all ages will relate to.

For the exception of one stand out character you always feel for the adults, who are also going through their ageing process as well as the children and dealing with it in different ways, sometimes with positive aspirational qualities and others with a misguided outlook on life, forcing their problems and regrets on young people.

The films lays things out plainly, no 2 years later subtitles, each stage has a small story to tell that’s part of a bigger picture and from one scene to the next you see how Mason changes. I enjoyed seeing these changes and you find yourself keeping an eye out for the moments when time skips ahead; I kept an eye on how regularly Mason's haircut changes.

Certainly there are moments that nod to American culture and some uninitiated may not recognise, however there is still something here for everyone. For me this film brought back a lot of memories, thoughts and feelings from when I was younger, especially since I spent a good deal of time in a America in my late teens and early 20’s.

My gears are regularly ground by cliches and emotional bribery in films where things just feel forced or are put on screen to look appealing or sexy. Linklater appears to know these are things that aren’t needed and in fact should be avoided at all costs, that families don’t talk everything out, that there may not always be that moment of ultimate emotionally recognition and that it’s a given that couples have sex and this in no way needs to be seen or exploited.

As far as ideas go this is truly original and will probably never have a cinematic equal. As a film it is interesting and thought provoking and heart warming, one I would definitely watch again and will stick in my memory for a long time. It may be quite a long yarn, but it’s worth telling as it gives definition to the difficulty and naivety of growing up.

On the blogging side of things I will attempt to endeavour in keeping this up . . . we shall see.

★ ★ ★ ★ ★

Captain Phillips - Review

Finally got myself along to the cinema recently and took my parents to see Captain Phillips. I already had a great sense of anticipation in seeing this, with plenty of media coverage surrounding this real life story, and names like Tom Hanks and Paul Greengrass involved, I was naturally excited.

Captain Phillips certainly delivers, it's a tense, exciting and well paced film. There's a great familiarity with Tom Hanks' character and, although not a direct copy, there are elements of Chuck from Cast Away and Jim Lovell in Apollo 13. Hanks commands here and it's probably one of the greatest roles he's ever done, he's thoroughly believable and engaging as a well worn Captain. However the crowning jewel of the film is Barkhad Abdi and the two other real life Somalians who play the Somali pirates. As complete new comers to acting on screen Abdi who plays Muse is devastatingly brilliant, with moments of utter confidence and belief in front of Tom Hanks to those moments of self doubt as their escape plan begins to unravel.

Greengrass is the one steering the story and commanding excellent attention in pacing and storytelling. In what could easily have become a rather dragged out second half, Greengrass explores the dynamics of the group of pirates, upping the ante as one member seeks to usurp the authority of their captain Muse (Abdi). The tension created in both the initial hijacking of the ship and the subsequent kidnapping of Captain Phillips is real edge of your seat stuff. The beginning of the film also introduces us to the pirates and gives us a window in to why they are doing this. By having us involved in the pirates story at the very beginning of the film and understanding their motivation, we are invested in the interests of both parties.

As usual Greengrass is using handheld cameras, which he knows how to do. So many producers have jumped on this idea in recent years and in many cases this unnecessary motion and intentional shaking does nothing more than annoy this cinema goer. However here it draws you in, it makes the experience feel more real, and doesn't ever make you feel like it's a unnecessary gimmick, rather it is a great cinematic tool.

The themes running throughout the plot will speak to everyone. One in particular rang true and it was the idea how much we do for our job and the fact that it's a means to an end. The arguments with the crew who aren't 'paid enough to deal with this', the business like approach to the hijacking, the way the authorities interact with everyone, and 'that scene' where we feel this cold unemotional treatment of someone going through emotional trauma. It's a job, 'it's just business' says Muse as he takes command of the ship.

What makes Captain Phillips amazing it's how universal it is, this isn't flag waving, god save America stuff, this is a truly even handed, very human perspective on a terrifying turn of events. The script coupled with the fantastic acting never once feels fake, there's something honest and deeply accessible here and you will come out this feeling like you've witnessed something memorable.

★ ★ ★ ★ ★

I'll Be Back . . .

. . . as the great Austrian once said, and I will hold to my word. All's very busy here and I've been trying to take time out to write thoughts and feelings on films that I've seen and all manner of things going on but, finding the time is proving incredibly tough.

I've got so much I want to talk about, like how surprising yet still brilliant The World's End was, or how old siege face Alan Partridge in Alpha Papa was a great revisit of the character for the fans, but does it cater for just anybody? How Jim Carrey was criminally sidelined in the rather misguided but still a bucket fun Kick Ass 2 and how my ultimate pick of the year, (bar the next Hobbit film) Elysium delivered on a promise at being a balls out sci-fi movie, with added socio political riffs, South African cussing and craaaazy weapons.

Not to mention I haven't done a piece on just thoughts about films up coming. I really want to talk about how utterly mind blowing it is that Star Wars Episode VII is going to be shot on 35mm . . . . un . . . . believable. It means a lot for cinema any may be a fantastic middle finger to the likes of Cameron and yes I'm going to say it, Jackson for bludgeoning us over the head with 3D!

Sorry this is a short one just want to get something down and set myself an internet based promise to keep writing film stuff because it's written in ink . . . vicious, digital, ink.

For now if you haven't please read my Behind The Candelabra review, possible one of the knock out films of the year, took me very much by surprise. I also wanted to share with you all a trailer for a film I am trepidatious about however given it's a sequel to probably the best thing to come out Dreamworks Animation I can't help but feel a touch excited . . . enjoy.

I will be back!


 

Behind The Candelabra - Review

The cinema seems to be busting at the seams with big blustery blockbusters and today instead of going to see After Earth or Fast & Furious 6, films I have yet to see, I decided I wanted to see something a bit different. Behind the Candelabra has popped up out of seemingly nowhere, a biopic about the later years of Liberace's life. With names like Steven Soderbergh, Matt Damon and Michael Douglas in the shoes of the king of showmanship, I couldn't help but be drawn to it instead of the usual summer fare.

I certainly was glad I gave it go. It's not your average biopic, in fact it's not a biopic at all, it charts the latter part of Liberace's life when he is introduced to Scott Thorson. Dealing intimately with the relationship that formed from this meeting, Behind The Candelabra is seen through the eyes of Scott as he tumbles down the rabbit hole in to the life of this famously extravagant celebrity.

The film deals with the idea of a homosexual relationship brilliantly and pulls absolutely no punches, it feels distinctly honest, not glamourising or emphasising points that you might be battered over the head with in a normal biopic. Moments of intimacy between the two become so normal the thing you notice more is the fantastic acting and humour. We are deeply immersed in these characters, all scenes revolve either of the two and feels distinctly claustrophobic, adding to the ideas the film is putting forward. In one scene Scott (Damon) gets upset at the fact that he and Liberace (Douglas) never go out. They are consumed in this plastic opulence, we don't see a great deal of the outside world, which is the crown jewel of this particular film. Most films focused on celebrities will tell great yarns about their life with vast scope and endless take offs of other famous people they've met throughout he years, here we have just a few very focused performances, you get to indulge in these characters.

Both Matt Damon and Michael Douglas are outstanding here, I was aghast at how brave they both have been in really taking this on and making it feel real. It's certainly one of the best performances I've seen from Michael Douglas, and the fact that he gels so well with Matt Damon here is testament to these two fantastic actors. Also worthy of note is Dan Aykroyd who plays Liberaces manager Seymour Heller, a great presence here with a great look and impact on the film and the feelings Scott goes through.

There are moments of absolute comedy, like Liberaces man servant strutting through this palace of a house making drinks serving tight white shorts. I was watching this in a tiny screen with about 5 other people and laughed ferociously at certain bits, I just couldn't help myself.

A deeply rewarding watch and one that has stuck with me as I'm now picking this up months later to finish off. It's the film I talk about when raising the question of films that have made an impact this year. It's definitely not for everyone, but if you like great thoughtful character movies that speak volumes about the times they were set in and the real people they represent you'll eat this up for breakfast.      

★ ★ ★ ★ ☆

Man Of Steel - Review

It was only a matter of time before Zack Snyder got his chance to reboot a franchise, it seems to be the move that's making this generations Blockbuster heavy weights. With a checkered past that critics consistently pick at, and to be put in the driving seat for a franchise that only recently got dealt a reactionary damp squib by Bryan Singer in Superman Returns, one can't help but feel a sense of pessimism before seeing this latest crack at the man in blue tights.

The expectation, given one or two of the names attached, is very high and these names will undoubtedly reel people in to cinemas, albeit for wrong reasons. Those who know well and good what Snyder does best will revel in the visuals that shout action, adventure and surface meaning. However there's a different tone here that non of the previous Superman incarnations have hit, some emotion and meaning makes it through, particularly in scenes with Kevin Costner. Snyder seems to have learned some lessons in forging some connection with characters. However the age old problem of making Superman relatable is still there, especially when the final act sees the world become an arena for one hell of a grudge match.

Given this the film succeeds in creating excitement and taking you on a ride. The first scene wastes no time in grabbing your attention. Never has an alien world been so bombastically realised just as a jump off point for a film. It gives some real meat and potatoes to Jor El played excellently by Russell Crowe. What follows is a real juxtaposing narrative that sets up Clark Kent on Earth, flitting from his adult life as a ghost who always seems to attract treacherous situations, to those moments growing up with his foster parents. Henry Cavill is brilliantly cast here, he's charismatic and well suited to the role without trying to rob from previous performances. Kevin Costner and Diane Lane provide the more grounded emotional heart of the film, which is our gateway in, naturally we feel a greater deal for the human interaction between these characters and I ended up wanting to spend more time here. In fact Costner nearly steals it and in one scene in particular you could feel he'd struck a chord with the audience. However the plot has some ways to go, the development of the relationship between Louis (Amy Adams) and Clark doesn't seem so poignant or necessary and once Zod (Michael Shannon) catches up on Cal El (Clark) the resulting destruction is visually outstanding but loses its edge.

The heft of CG shots does take its toll, there are some that look suspect in places, especially in scenes with Zod and his various armoured suits that are clearly super imposed on to him. However in realising the speed and the furosity of Supermans power the computer effects and the way in which those scenes are shot make this feel epic and eye popping. I chose to watch this in 2D so I could fully enjoy these moments as 3D causes nothing but blurring and headaches. As this was retro fitted rather than shot in 3D I would seriously recommend seeing this in good old 2D.

The thing is, for all my criticisms I really reeeeally enjoyed it. Like the previous Snyder comic book movie Watchmen I was on board and enjoyed the spectacle of it. The thing is with Superman he gets away with it better, this is a 12 rated film for a bloody good reason, because 12 year olds will utterly love it. There's some stuff here for adults alike, but I could only help but feel like the kid I ended up sat next to, that thrill and that excitement of seeing Superman realised in a way that's believable on the surface. Those moments of wonder like when he pushes a bus out of a river and kids look on in astonishment. Those emotions that coarse through you when Clark is threatened and you know he could end it with a flick of his little finger.The sense of awe is palpable and it knocks spots off a lot of comic book movies that have preceded it. It's just unfortunate that it had to refer to type to tie it up, but again it had a lot more to it than say the latest Spiderman.

It's not perfect by any standard, and it does nothing particularly new as far as reboots are concerned, robbing ideas from various films. However this is my favourite incarnation of Superman on screen and just as I unflinchingly love some daft Hollywood blockbusters of the 90's I stand by this and say that I thoroughly enjoyed it.

★ ★ ★ ★ ☆

The Great Gatsby - Review

So I've set myself a challenge, no looking up, no re-edits or constant re-reads, just grammar and spell checking, and do it as fast as possible. In order to really put my opinion out I'm firing this review out fast and frantic and without too much forethought. Much how the film The Great Gatsby actually feels. As with anything that Baz Luhrmann lays his hands on, The Great Gatsby is the absolute definition of over the top. Everything from the cinematography, the special effects, the music, all are dripping with opulence and luxury, the costumes are astounding and the characters full of emotion and rather ridiculous. Welcome to the Luhrmann with a big budget in a cinematic world that just begs men like him to create spectacles and for you to wear 3D spectacles.

The Great Gatsby has turned many heads and raised many eyebrows as it's not exactly new ground for cinema, there have been incarnations of this American literary masterpiece before. The fact that the book is held in such high esteem, I can't help but draw parallels to Luhrmanns past work. He doubted so many doubters when he modernised Romeo & Juliet. But back when celluloid was king and the idea of modern style 3D was impossible, Luhrmann had a boundary, that ultimately kept him reigned in. Moulin Rouge is the obvious pre-cursor to this as it has a similar pace and over exuberance. With Gatsby I would say he's pushed this modernisation a little over board but in doing so created something memorable.

The thing is I went in blind, never read the book, had no idea what it was about, I was there as a film fan. For all its grandiose pomposity, I really enjoyed what I saw, even with stupid 3D, I got wrapped up in the ridiculousness of it. There was a fantastic sense of optimism and desperation wrapped in an inventive shooting style. The sets stand out, they're memorable, when Nick (Tobey Maguire) steps in to that room to meet Daisy (Carey Mulligan) the curtains flying wildly, but almost like their dancing, it imprinted on me. The telling of it from Nicks memory as a recovering alcoholic isn't particularly meaningful, however it occasionally offers a respite from the furious pace the story has. The film has only one setting and it's cranked up to 11, every scene feels electrically charged. The modern music soundtrack adding to this furious nature as cars fly along like they're in a Fast and Furious film. The over use of CGI had me at odd's, most of it looked decent but some of it wasn't great and it pulled me out of the film because I felt like I was watching a video game. There's a real effort to get as much in here and that's obvious, given the long running time, and as the plot unfolds and the pace simmers it does feel very long. But the stars dazzle and Leonardo DiCaprio is well cast as the obscure Gatsby, reminding me of his role as the very troubled Howard Hughes in Aviator. Tobey Maguire isn't quite as irritating as usual but he still over eggs as an idealist and when he gets serious I still never buy it. Carey Mulligan is stunning and well cast for this, along with her brutish husband played by Joel Edgerton.

I came out of the cinema feeling I had really enjoyed what I saw, but once again I felt I'd have enjoyed it more without the glasses. They still irritate me and the only time I've ever been comfortable with them was for Life Of Pi. Having said that it did not let it effect my opinion of the film. There are moments of good cinema here, but you feel that there is something far deeper that Luhrmann is attempting to reach for, but just isn't quite getting there, and this is hindered by it's relentlessness in beating you over the head with computer generated images and Jay-Z songs. Younger audiences will find it dazzling and extraordinary if a little daft, and to be honest, that's how I would describe Lurmanns films in general.

Also set myself a record, 1 hour from first writing to posting, not bad, I reckon.

★ ★ ★ ☆ ☆