The Transformers toys were such a craze in the 80s because they required your input, they were both cars and robots, and one turned into a cassette (what was that about?). The animated series that was created to sell them was surprisingly good too. And so we now have the inevitable and highly anticipated film adaptation by Michael Bay, king of the mindless blockbuster. It delivers just what you expect: lots of really cool robots fighting, lots of cars going really fast, and lots of in-jokes and references for fans. Unfortunately, since it’s a Michael Bay film, it also delivers the wafer-thin plots and ridiculous characters you expect.
Thousands of years ago the planet of Cybertron was devastated by the war between the Autobots (decent robots that can change their shape) and the Deceptacons (power-hungry, evil robots that can change their shape). This war is now spilling over into our world, as both sides try to find a mysterious and powerful cube that is somewhere on Earth. For reasons that are not unclear, but stupid, only a geeky teenager (Shia LaBeouf) can save the day – with the help of his new robot friends, of course.
The story also follows other people affected by the robot invasion, including a soldier, a politician, and a ridiculously pretty and made-up (just when does she find time to re-apply her lip-gloss?) computer geek, who is also inexplicably Australian. Everyone seems to be inexplicably Australian at the moment. Well, people in House and Sue Thomas: F.B.Eye are too, and I call that a pattern. It was weird for me to see Jon Voight (oh, Coming Home, how I love you so!) playing the Defence Secretary squaring up against a bunch of robots, but even weirder to see Barton Fink (John Turturro) playing a moody official.
The Transformers themselves are definitely the most interesting and the most realistic things in the film; the CGI is outstanding. Those Citroën adverts that everyone loves, with the silly burpy music, have been royally trumped by these robots. It is a little hard to follow the fight scenes, since they become clumps of moving, twisted metal, but Optimus Prime, Bumblebee and Co. are never less than astonishing. The script is full of silly jokes, and the frenetic pace and schizophrenic editing mean that you could never be bored watching it, even if you really wanted to. The discerning art house cinema regular will want to, though, and will feel dirty after seeing it. But if you’re a fan of Transformers or silly Hollywood action films, then you will definitely have fun. All in all, a bit of a laugh, but not a film to analyse on the way home.
Tuesday, 7 August 2007
Sunday, 5 August 2007
Review - Die Hard 4.0
The fear with any successful series is that whilst you obviously eagerly await the next instalment, you are at the same time fearful of it sullying your happy memories of what came previously. The original Die Hard managed to at once create a new genre, and become the best example of it. Luckily the mix of audacious stunts, excitement, and one-liners remains in the fourth in the series, Die Hard 4.0 (or Live Free or Die Hard as it is called in America, where you can apparently stomach such a title without a significant dose of irony, given today’s political situation).
It’s another average day for John McClane (Bruce Willis), everyone’s favourite grouchy, sweaty maverick cop, until another megalomaniac (Timothy Oliphant) decides to ruin it, this time by crashing the world’s computer systems and therefore causing mayhem. McClane is the one man who can stop him, armed only with his sense of duty, lack of respect for Health and Safety, and a supergeek (Justin Long). What follows is a rollicking rollercoaster of a film, full of explosions, incredible stunts, and twisty turns.
Willis is of course excellent in the role that made his name in film. Long, who will always be Warren from Ed to me, is extremely funny as McClane’s antithesis, and it was wonderful to see Kevin Smith as an even super-er geek (his perfect part) adding even more comic fun to the mix. Oliphant is not as deliciously maniacal in a pantomime way as previous Die Hard villains, coming across as more of a spurned trust-fund baby rather than pure evil, but sneers well all the same. The set pieces are jaw-dropping in their chutzpah, and make this the perfect popcorn movie. Definitely the best of this summer’s blockbusters so far, Die Hard 4.0 maintains McClane’s standing as the king of the action film.
It’s another average day for John McClane (Bruce Willis), everyone’s favourite grouchy, sweaty maverick cop, until another megalomaniac (Timothy Oliphant) decides to ruin it, this time by crashing the world’s computer systems and therefore causing mayhem. McClane is the one man who can stop him, armed only with his sense of duty, lack of respect for Health and Safety, and a supergeek (Justin Long). What follows is a rollicking rollercoaster of a film, full of explosions, incredible stunts, and twisty turns.
Willis is of course excellent in the role that made his name in film. Long, who will always be Warren from Ed to me, is extremely funny as McClane’s antithesis, and it was wonderful to see Kevin Smith as an even super-er geek (his perfect part) adding even more comic fun to the mix. Oliphant is not as deliciously maniacal in a pantomime way as previous Die Hard villains, coming across as more of a spurned trust-fund baby rather than pure evil, but sneers well all the same. The set pieces are jaw-dropping in their chutzpah, and make this the perfect popcorn movie. Definitely the best of this summer’s blockbusters so far, Die Hard 4.0 maintains McClane’s standing as the king of the action film.
Review - 4: Rise of the Silver Surfer
As previously mentioned, I’m a big Marvel fan, and the Fantastic Four happen to be one of my favourites. The first film in this serious was not a total success, but what it did very well was set up the squabbling dynamics of comics’ First Family. The sequel continues in this tradition, and successfully introduces another important member of the Marvel Universe. Unfortunately, it suffers from the first instalment’s problem with storyline and set pieces.
The film opens with Sue and Reed planning their wedding and their future life outside of super-heroics, much to the disappointment of their team mates Johnny and Ben. The ceremony is rudely interrupted by a mysterious silver figure on a surfboard causing mayhem in Manhattan. This is the Silver Surfer, the herald of Galactus: Devourer of Worlds, and not your ideal wedding guest. The Surfer’s arrival, you see, signifies that there are just a few days for Mr Fantastic, the Invisible Woman, The Human Torch, and The Thing to stop this world being devoured too.
The Surfer looks great; it’s such a relief to see a comic character remain unchanged in the journey from page to screen, but with the Silver Surfer, this is unsurprising. He is so cool-looking, and would be designed the same today as he was in the 60s. All the four main players fit their characters very well, taking the Mickey out of each other whilst still being adorable (apart from when Mr Fantastic is using his powers, which is just creepy). I do wish they’d left out Dr. Doom, though, a character that didn’t work in the first film; his presence here is unnecessary and not well explained. The physical appearance of Galactus was a bit of a disappointment, too. However, it is possible to just lie back and enjoy the nice jokes and special effects, and not analyse the plot too much. If one does that, then this move is a fun ride.
The film opens with Sue and Reed planning their wedding and their future life outside of super-heroics, much to the disappointment of their team mates Johnny and Ben. The ceremony is rudely interrupted by a mysterious silver figure on a surfboard causing mayhem in Manhattan. This is the Silver Surfer, the herald of Galactus: Devourer of Worlds, and not your ideal wedding guest. The Surfer’s arrival, you see, signifies that there are just a few days for Mr Fantastic, the Invisible Woman, The Human Torch, and The Thing to stop this world being devoured too.
The Surfer looks great; it’s such a relief to see a comic character remain unchanged in the journey from page to screen, but with the Silver Surfer, this is unsurprising. He is so cool-looking, and would be designed the same today as he was in the 60s. All the four main players fit their characters very well, taking the Mickey out of each other whilst still being adorable (apart from when Mr Fantastic is using his powers, which is just creepy). I do wish they’d left out Dr. Doom, though, a character that didn’t work in the first film; his presence here is unnecessary and not well explained. The physical appearance of Galactus was a bit of a disappointment, too. However, it is possible to just lie back and enjoy the nice jokes and special effects, and not analyse the plot too much. If one does that, then this move is a fun ride.
Review - Ocean's Thirteen
I have never been more bored in a cinema than when watching Ocean’s Thirteen. Silent Hill was excruciating, but at least I was confused and mildly repulsed, sustaining my interest minutely. This film, on the other hand, is such a one-note affair, with no emotional content whatsoever, that it is hard to stay awake. For a film about a daring heist, this is quite an achievement.
The problem is that everyone is trying to be so suave that they turn into nothing more than cool robots: coolbots, if you will. These coolbots, with the faces of usually charming actors (Brad Pitt, George Clooney, Matt Damon et al.) wander around organising the comeuppance of a casino owner (an unusually subdued Al Pacino, considering he’s playing the baddy) for two long hours. Given the lousy, slow, unfunny build up, you’d have hoped for an exciting denouement when the actual heist occurs, but even that is boring. The trouble with really cool people is that they don’t care about anything; if the characters relished all this double-crossing and the thrill of the chase (if there was a thrill of the chase, even), this would have been a diverting movie. As it is, it’s Yawnsville.
The production design, on the other hand, is excellent. The sets are easily the most interesting bit of the film, so if you have to see this, keep your eyes on the background.
The problem is that everyone is trying to be so suave that they turn into nothing more than cool robots: coolbots, if you will. These coolbots, with the faces of usually charming actors (Brad Pitt, George Clooney, Matt Damon et al.) wander around organising the comeuppance of a casino owner (an unusually subdued Al Pacino, considering he’s playing the baddy) for two long hours. Given the lousy, slow, unfunny build up, you’d have hoped for an exciting denouement when the actual heist occurs, but even that is boring. The trouble with really cool people is that they don’t care about anything; if the characters relished all this double-crossing and the thrill of the chase (if there was a thrill of the chase, even), this would have been a diverting movie. As it is, it’s Yawnsville.
The production design, on the other hand, is excellent. The sets are easily the most interesting bit of the film, so if you have to see this, keep your eyes on the background.
Thursday, 26 July 2007
Review - Magicians
Magicians has the same writers and cast as Peep Show, so I was very excited about seing it, as I love that sitcom. I quote it most days. In fact, I am basically Mark Corrigan. Unfortunately Magicians isn’t as good as Peep Show, but it still tickled my funny bone.
David Mitchell and Robert Webb (them off the British Mac adverts, if you are an idiot and don’t watch Peep Show) play a duo of successful magicians. After a particularly nasty incident, the two vow never to speak and go their separate ways, both ways leading to obscurity. Years later, they enter the same magic competition, intent to out-do the other.
The plot is perfectly adequate, and allows for lots of cameos and some nice romantic subplots. Jessica Hynes (née Stevenson, co-creator of Spaced, making me wish all over again that she was doing as well as Simon Pegg) was absolutely lovely as Mitchell’s love interest, and the great Peter Capaldi was as deliciously mean as ever in the role of the competition’s judge. The two leads play the same characters they always play, just a bit nicer (so, basically themselves, then). Unsurprisingly, they can do this well.
The writing is good, but judging by the rest of the audience’s reaction, I’m not sure that it’s to everyone’s taste. However, the work of the writers Jesse Armstrong and Sam Bain, laced with pop cultural references and great phrasing, is exactly what amuses me. If they hadn’t produced such great televisual work (which also includes The Thick of It), then this would be considered a good (but not great) comedy, but expectations were so high. The central device of Peep Show, having everything from the character’s perspective and hearing their inner-thoughts, is missing, and once gone you realise what a useful and important element it is. Without it we just have two quite nice magicians doing magic with some funny jokes. All in all, a missed opportunity.
David Mitchell and Robert Webb (them off the British Mac adverts, if you are an idiot and don’t watch Peep Show) play a duo of successful magicians. After a particularly nasty incident, the two vow never to speak and go their separate ways, both ways leading to obscurity. Years later, they enter the same magic competition, intent to out-do the other.
The plot is perfectly adequate, and allows for lots of cameos and some nice romantic subplots. Jessica Hynes (née Stevenson, co-creator of Spaced, making me wish all over again that she was doing as well as Simon Pegg) was absolutely lovely as Mitchell’s love interest, and the great Peter Capaldi was as deliciously mean as ever in the role of the competition’s judge. The two leads play the same characters they always play, just a bit nicer (so, basically themselves, then). Unsurprisingly, they can do this well.
The writing is good, but judging by the rest of the audience’s reaction, I’m not sure that it’s to everyone’s taste. However, the work of the writers Jesse Armstrong and Sam Bain, laced with pop cultural references and great phrasing, is exactly what amuses me. If they hadn’t produced such great televisual work (which also includes The Thick of It), then this would be considered a good (but not great) comedy, but expectations were so high. The central device of Peep Show, having everything from the character’s perspective and hearing their inner-thoughts, is missing, and once gone you realise what a useful and important element it is. Without it we just have two quite nice magicians doing magic with some funny jokes. All in all, a missed opportunity.
Wednesday, 4 July 2007
Review - This is England
This is England starts with a Non-Uniform Day, something I never expected to see in a film. Unlike Americans, we British are not used to the rituals of our school lives being shown on screen. They only get on Grange Hill, and isn’t even on the telly anymore. It is little details like this that make This is England such a joy, showing vividly what it was like to grow up in Thatcher’s Britain.
It is 1983, and 12-year-old Shaun (Thomas Turgoose) is trying to come to terms with the death of his father in the Falklands. He has no friends, and the other kids tease him about his flares and his dead dad. A chance meeting with a group of skin-heads change all that, giving him somewhere to belong, almost a new family. This new sense of security is shattered by the arrival of Combo (Stephen Graham on terrifying form), a volatile National Front supporter, straight from prison, and things get serious for Shaun very quickly. The director Shane Meadows shows how it is all too easy to get sucked into this dark world. The easy answers Combo offers are attractive to this boy that has been so disappointed by life.
This is a film full of small moments, many hilarious, and all so real; it is no surprise to learn that Meadows based it on his own experiences. With the exception of Combo, all the characters are such reasonable people (something you rarely see in films), and even he is so well-drawn that he has your sympathy. The cast of largely unknowns are wonderful, completely becoming their characters; there isn’t a second where you don’t feel you are in 1983. Turgoose is great, tough but still cute, and Jo Hartley is spot-on as his concerned mum. Joseph Gilgun as Woody, the head of the nice skin-heads, is so charming, you just want to be his best friend too. Some of the funniest scenes feature the romance between Shaun and Smell, a sort of Girl George played sweetly by Rosamund Hanson.
This is England reminds me of a sort of low-key British version of Goodfellas: it takes you from hilarity to poignancy to bursts of violence to seriousness and back in a blink of an eye, and does so seamlessly. A film full of cool clothes, cooler music, quotable lines, and realistic characters, it is ripe to become a cult classic. And it may just be my favourite British film of all time.
It is 1983, and 12-year-old Shaun (Thomas Turgoose) is trying to come to terms with the death of his father in the Falklands. He has no friends, and the other kids tease him about his flares and his dead dad. A chance meeting with a group of skin-heads change all that, giving him somewhere to belong, almost a new family. This new sense of security is shattered by the arrival of Combo (Stephen Graham on terrifying form), a volatile National Front supporter, straight from prison, and things get serious for Shaun very quickly. The director Shane Meadows shows how it is all too easy to get sucked into this dark world. The easy answers Combo offers are attractive to this boy that has been so disappointed by life.
This is a film full of small moments, many hilarious, and all so real; it is no surprise to learn that Meadows based it on his own experiences. With the exception of Combo, all the characters are such reasonable people (something you rarely see in films), and even he is so well-drawn that he has your sympathy. The cast of largely unknowns are wonderful, completely becoming their characters; there isn’t a second where you don’t feel you are in 1983. Turgoose is great, tough but still cute, and Jo Hartley is spot-on as his concerned mum. Joseph Gilgun as Woody, the head of the nice skin-heads, is so charming, you just want to be his best friend too. Some of the funniest scenes feature the romance between Shaun and Smell, a sort of Girl George played sweetly by Rosamund Hanson.
This is England reminds me of a sort of low-key British version of Goodfellas: it takes you from hilarity to poignancy to bursts of violence to seriousness and back in a blink of an eye, and does so seamlessly. A film full of cool clothes, cooler music, quotable lines, and realistic characters, it is ripe to become a cult classic. And it may just be my favourite British film of all time.
Tuesday, 3 July 2007
Review - Das Leben Der Anderen (The Lives of Others)
We in Britain have had a period of unprecedented peace, freedom and prosperity in the last 60 years, so it is easy to forget that parts of Europe very near us have not been so lucky. The Lives of Others reminds us that up until 1989, half of Germany was under the heel of a very repressive regime; East Germany was an Orwellian nightmare of suspicion, fear, and knocks on the door in the middle of the night, and all in shades of beige and grey. By expertly telling the story of a few characters, the director Florian Henckel von Donnersmarck has managed to at once dig up the ghosts of the past for the German people, and exorcise them somewhat. Setting aside the political aspects, this is still an excellent human story of quiet heroism.
Set in the early 1980s, the film focuses on Georg Dreyman (Sebastian Koch), the most successful playwright in the GDR. In fact, he is the only playwright in the GDR, since the Communist Party has deemed all others enemies of the state, forcing them to defect or go into excile. He has his leading lady, Christa-Maria (Martina Gedeck) for a lover, and friends in high places. Everything is going swimmingly for him until Christa-Maria catches the eye of a leading party official, who sets the Stasi on Georg. It is the job of Stasi officer Gerd Wiesler (Ulrich Mühe) to monitor his every move and listen to his every conversation, anything to find an indiscretion. The lives of these two men are to become intwined in a carefully crafted and very moving way.
Highlights of a great cast start with Koch, who so impressed in Zwarteboek (Black Book). Not good-looking in the conventional sense, there is still something magnetic about him; he plays the slightly bohemian, yet-still-trying-to-tow-the-party-line, Dreyman with just the right mix of confidence and uncertainty. Mühe (Kevin-Spacey-as-Lex-Luthor’s double) gives a subtle and measured performance as the shy Stasi man. So subtle and measured, in fact, that it was sometimes hard to follow what he was doing and why (my only criticism of the film, and a small one at that as the story unfolds). Gedeck creates a strong and intelligent character who is more than a love interest, something I fear is rare in English-language cinema.
The Lives of Others deservedly won the Best Foreign Language Film Oscar this year. It is a ode to the man who quietly makes a difference, who makes sacrifices and doesn’t ask for recognition. By bringing light to East Germany’s murky history, it has brought up the uncomfortable truth that people were giving up their friends and loved ones to the Secret Police only twenty years ago. By telling this one tale, many people will now feel free to tell their own.
Set in the early 1980s, the film focuses on Georg Dreyman (Sebastian Koch), the most successful playwright in the GDR. In fact, he is the only playwright in the GDR, since the Communist Party has deemed all others enemies of the state, forcing them to defect or go into excile. He has his leading lady, Christa-Maria (Martina Gedeck) for a lover, and friends in high places. Everything is going swimmingly for him until Christa-Maria catches the eye of a leading party official, who sets the Stasi on Georg. It is the job of Stasi officer Gerd Wiesler (Ulrich Mühe) to monitor his every move and listen to his every conversation, anything to find an indiscretion. The lives of these two men are to become intwined in a carefully crafted and very moving way.
Highlights of a great cast start with Koch, who so impressed in Zwarteboek (Black Book). Not good-looking in the conventional sense, there is still something magnetic about him; he plays the slightly bohemian, yet-still-trying-to-tow-the-party-line, Dreyman with just the right mix of confidence and uncertainty. Mühe (Kevin-Spacey-as-Lex-Luthor’s double) gives a subtle and measured performance as the shy Stasi man. So subtle and measured, in fact, that it was sometimes hard to follow what he was doing and why (my only criticism of the film, and a small one at that as the story unfolds). Gedeck creates a strong and intelligent character who is more than a love interest, something I fear is rare in English-language cinema.
The Lives of Others deservedly won the Best Foreign Language Film Oscar this year. It is a ode to the man who quietly makes a difference, who makes sacrifices and doesn’t ask for recognition. By bringing light to East Germany’s murky history, it has brought up the uncomfortable truth that people were giving up their friends and loved ones to the Secret Police only twenty years ago. By telling this one tale, many people will now feel free to tell their own.
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