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Reviews
Mission: Impossible III (2006)
Mission: Impressive
Director J.J. Abrams amps up just about everything that worked in the first two Mission films: the smarts and chicanery of the first; the action at the end of the second. The IMF team is very much part of the story this time round, nicely played by the likes of Ving Rhames, John Rhys-Meyers and Maggie Q. The movie opens with a gut-wrenching interrogation scene that injects real emotion into the ensuing two hours. The villain, played by Philip Seymour Hoffman, is such an uncompromising SOB, there's always a great sense of urgency underpinning the flashy high jinx of the team's various missions.
Lastly, Cruise is on top form as Ethan Hunt, the super-agent here given a vulnerable dimension; tying his home life to the story lends him a gravitas missing from the first two movies. There's simply more at stake for his character.
I thoroughly enjoyed this effort. The action is exciting, the pace furious, and the script well above par for a summer spy flick. A terrific start to blockbuster season 2006.
Alexander (2004)
A stunning work on a difficult subject
Despite the huge budget and tremendous scope of Oliver Stone's labour of love, he has crafted a film that will be of interest only to a specific audience. There is a stubborn passion for his subject that precludes an audience unwilling to share it.
The wonderful film-making quote "a hundred patrons will see the same film a hundred different ways" is particularly pertinent here, as out of those hundred, I suspect only a handful will see 'Alexander' close to the way the director intended. Put simply, it's a historical figure brought to life as accurately as dramatisation allows, and those who don't care to spend time with Stone's deeply flawed, legendary conquerer, or wish to consider the (un-Hollywood) nature of what made him 'Great', are likely to be bored for three interminable hours.
I found the movie to be wholly engaging. Incredible battles aside (of which there are two: visceral and brutal), the performances of Angelina Jolie and Val Kilmer are larger-than-life and memorable, the narration by Anthony Hopkins (as Ptolemy) compelling and the visuals nothing short of stunning. I would say one has to be interested in the subject beforehand to properly enjoy Stone's interpretation, but as a screenplay it is both penetrating and eloquent.
And lastly, Colin Farrell as 'Alexander' puts every last ounce of passion and skill into his portrayal. Despite what many have said, he is to my mind the only actor of his age possessing the mercurial quality required to play a man of such extreme contradictions. He is terrific in a phenomenally difficult role.
The makers of this film should be proud. At a time in which people seem to have declared the end of the 'historical epic' cycle, what a shame that America's maverick has suffered the backlash of modern critics' obsession with the here and now. As if a depiction of ancient times needs first to be processed through our trite and brittle sensibilities.
"Fortune favous the bold." 'Alexander' is the cruel exception. *****
Troy (2004)
The legend re-born
I am grateful for how well this was handled. Thoroughly expecting the romance to take centre stage in the narrative (as has been the case in many costly movies of late), between Paris (Bloom) and Helen (Kruger), I remember thinking, as I left the theatre, how little screen time they shared together. Benioff and Petersen have instead simply given us The Trojan War as fought by the two great warriors of that age: Hector (Bana) and Achilles (Pitt).
The story has always been a great one, but never satisfactorily rendered on the big screen. These Greek legends hold the origins of modern storytelling, but where are they now? Cinema has barely touched the richness of ancient folklore: maybe now is its time, as special effects become more miraculous by the week, and studios are embracing the scope of epic fantasy and history like never before. Where are the great movies of Hercules, of Theseus, of Odysseus...
'Troy' was terrific entertainment. The battles are everything you'd expect, and comparing them to Helm's Deep or Pelennor Fields is unfair in the extreme. This is gritty, chaotic warfare in which good and evil isn't as clear-cut as men vs orcs; Homer saw it as bravery fighting destiny, and that is precisely what is presented here.
Pitt is perfect as the arrogant but soulful Achilles, a warrior so deadly that his renown can literally turn the tide of a war. The actor displays a breathtaking physicality here, superhuman in both agility and grace. His presence fills the screen in every way. Bana is hugely impressive as noble Prince Hector, the only real bona-fide hero of the film. He radiates strength through every word, and is a commanding presence throughout. His performance is comparable to Russell Crowe's 'Maximus'.
Most notable among the high calibre cast are Peter O'Toole (wonderful as King Priam), Brian Cox's loathsome Agamemnon and Sean Bean (fantastic as the fabled Odysseus). No one is conspicuously weak, but many roles are unfortunately only given the focus that a (quite strong) three hour script can provide. Sets are stupendous, costumes dazzling and the special effects are as grand as you'd imagine.
Special mention must go to the climactic one-on-one fight between the two warriors. It's a truly amazing five minute sequence of cinema.
The film as a whole works very well indeed, and the changes given to the original story (apart from one) are handled admirably. Ranks easily among the best historical epics of yesteryear, and offers a fascinating interpretation of the legendary Achilles. An impressive, old-fashioned extravaganza.
The Last Samurai (2003)
Exactly as you'd expect
As wholly predictable a picture as i've seen in recent years, this is nevertheless impressive entertainment; criticized heavily by some for attempting to emulate the 'Dances With Wolves' formula in the Japanese world (as if copying what works in Costner's masterpiece is ill-advised), Edward Zwick's 'Samurai' epic unabashedly sweeps all such cliches along in its earnest and often stirring story.
Late nineteenth century Japan: US military officer Nathan Algren is hired to train a new imperialist army to fight against rebel samurai warriors. Defeated, his brave stand whilst surrounded arouses the curiosity of the rogue samurai leader, who takes his wounded foe back to his village to recover. Thus begins a relationship that will change Algren forever... offering him a chance to face his haunting past...
Tom Cruise delivers a standout performance that recollects moments of his amazing Ron Kovic in 'Born on the Fourth of July'. This dignified actor here showcases an on-screen charisma that few can match in his generation. Ken Watanabe displays searing intensity as the tribal leader who commands the respect of Algren, through both his intelligence and fighting prowess.
The fight scenes are incredibly tense and brutal, and the cinematography by turns painterly and immediate. Pretty much what you'd expect then: but when movies are this enjoyable, that is no bad thing.
The Jackal (1997)
Quality performances, nicely executed thriller
Hollywood update of 'Day of the Jackal' features a good performance from Bruce Willis in the title role, and two excellent performances from Richard Gere and Diane Venora. All technical aspects of the film hold up well.
Alternating between the highly organised antics of the enigmatic assassin and the more desperate methods of the authorities in tracking him down, the story of 'The Jackal', like many good thrillers, is a converging race against time. In this one, both threads are engaging, with the detached Willis having seemingly lost his own personality amidst the innumerable disguises, and the passionate Gere having to face his painful past in order to save his future.
Diane Venora, as Soviet liaison Major Koslova, makes a huge impression with her portrayal of a scarred but brave and determined woman: such strong female characters are a delight when given to such quality actresses. Sidney Poitier is also very good as the Deputy FBI Director.
Overall, an extremely efficient, entertaining movie that is far removed from the original, proving that a good movie stands alone on its own merits.
Judgment at Nuremberg (1961)
Important, highly provocative drama.
Somewhat forgotten nowadays, this nevertheless remains a masterful, important movie about the accountability of German judges (and others of influence) for their "crimes against humanity" during the Third Reich.
The thoughtful, intelligent script is delivered with purpose and passion by an impressive line-up of actors. Maximillian Schell (Oscar-winning) and Richard Widmark are forceful and magnetic as the counsels for defence and prosecution, respectively. Other stand out performances come from Judy Garland and Montgomery Clift (extraordinary) as two highly sympathetic trial witnesses. However, top billing goes to Spencer Tracy, whose role as the presiding judge of the trial is perfectly suited to his skillful, unselfish style.
Film is a surprisingly well-balanced argument, allowing numerous points of view to influence the audience's perception throughout the 3 hours. Though filmed in black and white, the moral and political contexts within are anything but; indeed, as the implications of the trial broaden in scope, the screenplay becomes extremely provocative and asks some very challenging questions.
Overall technical credits are outstanding and as such, ensure the film's focused, exciting delivery. Lasting impression after viewing is one of anger and fascination, compelling the audience to discuss this dark chapter in recent history. If only for that, everyone should make an effort to see this movie at least once.
Mutiny on the Bounty (1962)
Superior entertainment in the grand old style!
This is a fabulous movie. Sumptuous production, good screenplay, excellent performances, beautiful cinematography and a majestic musical score.
Story follows the crew of British Naval vessel 'The Bounty' on its mission to transport 'bread fruit' plants from Tahiti to Jamaica, as food for the slaves there. Unrest is almost immediate, with the Captain (Howard) and his first officer (Brando) disagreeing over the appropriate punishment for a sailor's minor infraction. Things only get worse during the voyage as the harsh Captain responds severely to anything that opposes his ambition to please the admiralty with a speedy voyage. The crew's time spent in the paradise of Tahiti (particularly with regard to the naked and willing women) fills them with such pleasure that the prospect of a return voyage under such cruelty is unbearable. Events finally reach a summit on the way to Jamaica, when a mutiny takes place and the Captain is set adrift with most of those in disagreement with the first officer. However, this is far from an absolution for both sides...
For many the film is measured by the performance of Marlon Brando in the lead role, and it is easy to see why. His first officer, Fletcher Christian, is unlike anything from him in memory; however, taken as it is: an effeminate, fair-minded character forced into an extreme dilemma, the result is a complicated man, extremely well played. Indeed, as the film progresses, Christian's predicament is increasingly sympathetic and it is to Brando's credit that he remains engaging throughout. His unexpected plea to his fellow mutineers at the end is an extraordinarily conceived and delivered moment in the film.
Trevor Howard plays Captain Bligh with poise and relish. The character is completely arrogant and utterly loathsome, but never less than believable. This villain is all the more frightening because his cruel methods never stray outside the 'official' Naval regulations, as he is keen to point out. Of the supporting players, Richard Harris' roguish Mills and Richard Haydn as the Royal botanist (and film's narrator) make the strongest impressions. Overall acting is very good.
Vivid use is made of the exotic island locations (on which a considerable time is spent) and the vast, isolating ocean vistas.
Overall impression is of grand scale and spectacle, but illustrated with the intelligence and humanity of the scenario. Near-perfect filmmaking in glorious, old-fashioned style!