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Dune (2021)
Whelming, is all I can say.
Whelming, is all I can say.
I'm a fan of the books. I'm a fan of the 84 movie.
To be objective I must compare this to the original movie, but as movies are movies and books are books, I'll exclude the source from my thoughts. Where the original hits its median point, the latest ends. For the 2hrs17 of the original, knowing that we now had 2hrs35 for slower, more focused telling of very big story, I was very excited. But, somehow, this movie uses more time to tell us less. Not just in plot, but in character, in politicals, in world building.
Unfortunately, what I hopped, just didn't happen.
Much of the sub-plots, world creation and side character work has been purged, slimmed, and generally ignored. Again, this is not from the book, which is substantial, but from the 84 showing that was condensed enough already.
The space this iteration had, frankly, was not used.
The movie has many positives, if it hadn't I wouldn't have watched it twice already.
But, in a nut shell, as a stand alone, it doesn't really do anything.
The cast are fantastic, well suited, and full grasp their roles. The cinematography is highly appealing, some shots are really top notch, and the dialogue works cleverly. The sound scape could have done more, but it resonates enough to impress.
Yet, the function of a film is to tell, or at least lead, a story.
In this regard it somewhat fails.
I've been dying for this movie since its first announcement. I was first in the door of my local cinema to watch it. But all I feel now is, well, mildly whelmed. It's soft hints don't do enough to sate my sci-fi fierce appetite.
I've scored it 7, and I feel shameful as a fan, but it doesn't justify the 8.
I've given it a 7 on the hope of part 2. Should the next fail to inspire this will get its pure, stand alone movie, rating of 6.
But for the moment it is a 7.
A top cast, fantastic sets, beautiful cinematography, none of these can ever replace the strength of a focused, angled, and honed story.
And this movie just didn't show us enough story.
The Green Knight (2021)
When I was 16 Sir Gawain and the Green Knight was my introduction to epic poetry.
It paved the way for my discovery and ability to read the denser translations of Homer, Dante, and other elder greats. I say so much to clarify my love and understanding of the source material.
And that being said, I do adore what has been done with this adaption. The balls on them for this reversal of morals in what was originally a moral allegory.
Anyone who knows the story knows that Sir Gawain had all the qualities of valour and honesty, but he just lacked the story to tell it.
In this we see the reverse. A would be knight, lacking the proper values, who fails at every test. The story, originally, is about give and take with a protagonist already able to produce such virtues. In this movie we get to see a story of Sir Gawain if he wasn't so richly and nobley endowed.
The reversal is fantastic.
Shot superbly, with loving nods to the source work, this movie is for the patient and the knowing. A new angle on an old story, a story that could never translate today in a one for one likeness.
The Lighthouse (2019)
Should pale death, with treble dread, make the océan caves our bed, God who hears the surges roll deign to save our suppliant soul.
Fog horns blow, the wind does moan, cold does seem to seep though the very screen, and the tension between the inwardly reclined Paterson, and the grave-accented Defoe, seems sturdier than the walls that bound our characters. Quick shots stimulate the mind, wizzing machines, bright white fire that roars through the medium of 33mm film. Even the straight on shots of the men at work, at inanimate objects at rest and in movement pay homage to a time in cinema long gone, while also drawing us in further to the scene than we would like, working on us subconsciously to make sure we are never at ease.
A boxy aspect ratio pens us in, like the keepers of the light, bound to the confines of a wind harassed island, curbed from the world by fog and squall, so are we restricted, held in, by the limitation of out vision. Colour has been drained from this world. We spend out time with these men whom we know nothing about, who know nothing about each other. All that is clear is the differences. The hale youth of one in comparison to the age of the other; their accents, not just worlds apart, but eons too; ones reticent vs the others nostalgic openness. What is sure, however, is that there is more to the history of these men than they let on.
For most people this will be a strange movie, a conundrum that will live somewhere in the back of their head, rising up every now and again, to only perplex them further. What is clear for me, however, is that is a work of strong auteurship from a young director coming into the strength of his powers. The cast numbers two, Defoe and Patterson who while alone on the screen, or together, lay down some of their best work, for one in a decade, for the other ever. This movies is odd, it is original while being reminiscent of an old world mostly forgotten - there is something of it that reminds one of Beckett, and then a moment later something that sparks the mind towards The Ring. Elements here persist that show of an education in, and understanding of film accruable only over a life time.
For what this movie attempts it succeeds. What it needs to do, it does with out need for convoluted plot. This is a movie to be felt: its unease, its discomfort, its growing madness. All I can say is hats off to Robert Eggers and, I, for one, can not wait to see what creation places before us.
Ad Astra (2019)
Patience required
A journey from earth to Mars could take up to 300 days, from mars to Neptune even longer. In short, patience is required. As it is with James Grey's aesthetically beautiful Ad Astra.
The cinematics are stunning, the sound design intense and pressing. For the sense this movie is a wow. Rarely can a film, though such limited means, convey to us the expanse of not just space, but the endless wastes of moon deserts, the harshness of bleakness of mars, and the isolation of humanity within the universe. All at the same time providing a perfect counter point in how close and bundled together we all are.
With seeking to praise this movie many would stop at its artistic qualities, but in truth the worth of Ad Astra runs much deeper. This is not a genre movie, it is not sci-fi, it is not an action movie, nor an adventure movie, it is an introspective look at the human element of solitude, disconnection and isolation. Is there action scenes? Yes, well timed and fantastically passed set pieces give us the audience a reason to raise our heart beats: a moon-buggy chance upon the surface of Luna; a mysterious wreckage floating in space; the rush to stowaway upon a departing rocket; all cut through the patient story of Major McBride on his mission to meet his father.
Brad Pitt holds the story on his own. For two hours it is his actions, his introspective thoughts that lead the way through a plot that is - much to the ire of many - as straight as coursing arrow. There are no real twists, no under handed deceptions by way of the writers. We are party to the dilemmas and decisions of Major McBride for good and for bad, but with elation I can report that Pitt has the talent to keep us with him the whole way through.
Backed up by cameos from Liv Tyler, Ruth Negga and Tommy Lee Jones, Ad Astra is very much the brilliance of director James Grey rendered palatable by the smooth talents of Brad Pitt.
I entered this movie weighted down by poor reviews and harsh criticisms, I left awed by a beauty I did not see coming.
The English Patient (1996)
Is there a more dramatic theatre for love than war? A more sweeping scene for memories lost than the desert?
Is there a thing more beautiful than a broad story of depth given its due time to develop?
Some may say this movie is too slow and I can only disagree. Over 2hrs 40min this epic slowly unfurls, revealing to us the intricate histories of a swath of characters expertly portrayed. The relationship between Thomas and Fiennes is intense, highly involved, and utterly believable. Juliette Binoche's crisp performance of Hana is layered with a youth and naivety. And the leering and shady Caravaggio was played by Dafoe lends an edge to the story that helps propel the narrative.
Rare is its that a movie succeeds in capturing a place, a time and the raw and untranslated emotions of such a diverse palate of characters. But it must be said, this is not a thrilling adventure movie, nor a electrifying tale of spies ladened with plot twists and turns, but a slow exploration of human character, and the relationships that grow between people, despite their surrounds and origins. War is present, but it's ever in the background, as much as the desert is, or the green hills above Florence, where Hana sets up her impromptu hospice.
Ralph Fiennes is a wonder, maybe even witnessed here in the performance of his career as he plays what is ultimately two roles: the spirited and driven Almasy, at his prime and in his comfort in the solitary confines of North Africa, and the English Patient, withered and injured as he lays, accepting death and musing in his last hours of the love he once felt.
For fans of he book this movie pales in comparison, but that only goes to show the mastery of Ondaatje's writing. The characters appear as washed out versions of themselves, with the role of Hana proving to be most removed from her literary self. Soft changes to the history and build up of the story also prove subtle alterations to the relationship between characters.But that is not to take away from the wonder of this movie. Winner of 9 occurs and nominated for a further three, this is a film that will remain a classic in the years to come. A movie that is an utter joy to watch for the first time, and has that uncommon touch of magic that can be relived again and again over future viewings.
Noah (2014)
A surprisingly good film buried for many beneath the bad taste of religion.
Had the mythology, the lore and laws of magic and mystic lands, of this movie been based on the Æsir and Vanir of Norse origins, or even of the Maiar and Valar from the imaginations of JRR Tolkien, or even some new confangled system of fantasy, it would of been more palpable to common audiences than that of classic Christianity. What is over looked is that the story of Noah is off all Abrahamic religions, and not just the christian belief systems, but that is for a different essay.
Russel Crowe and Jennifer Connelly lead a cast that is a mix of the reputable and young. Ray Winstone asks to par to his familiar role as the though baddy. Emma Watson, as always, lives up to her billing as a senior actress, talented beyond her years. But we should not get carried away. The script, while not poor, is stifling and each an every performance is to spec, and not wanton, but for these talented actors its just a days work well done.
As with all movies of Good Vs Evil it is the subtext that matters here. It is not a discussion of Believers against Unbelievers, as is the overt convention. But Greed Vs Growth, Kindness Vs Consumption, Selflessness Vs Selfishness. There are also heavy overtones about the sins of the consumption of meat that many, many people may take offence to. Director Darren Aronofsky has once made reference to himself on Twitter as 'the NOTORIOUS V.E.G.' Make of that what you will. But in the eyes of this reviewing omnivore it is very much the time for us as a society to look to our systematic raising of, and consumption of, meat.
All in all this movie is more than passable. Deserving of a score higher than its current 5.8. An entertaining 2hrs this movie comes near to attaining the feel of epic that it so seeks, but maybe falls a bit short in the end. The systems of mysticisms, maybe even an expectation of Deus Ex Machina, have in my opinion biased the viewing crowd, if not before they view the film then certainly after they sit through the terrible opening titles and clunky explanations (by far the only two poor minutes of the movie). We are now a public, so willing to believe in Wizards and Demi-Gods and Superheroes, that it find strange how we cringe so at the words of Angles and Miracles. I suppose those words mean different things to us now, come from a different place and a different time than ourselves. A time we have long been trying to distance ourselves from. A time that maybe we should look more to.
A Private War (2018)
This is not a story about the atrocities of war. This is a story about the ravages of war on the soul of one who dedicated her life to insure that the atrocities of war never
Marie Colvin was a hero. A real hero, without superpowers and fractured through with deep faults. Her life was spent within the acrimonious bounds of vicious wars, running willingly towards the regimes that sought to sunder the peace of the poor with cruel and malicious bloodshed. The enmity she witnessed, the waste of human life, he abundance of suffering, changed her in ways she struggled to deal with. It is ironic after the loss of half her sight Colvin would go on to lay vision upon much more than most us mere humans. But in the accusation of this sight she was stricken, emotionally and physically.
Matthew Heineman is a documentary film maker of the first rank, himself used to the insecurities and dangers of rough and gritty land. Here, in his first non-documentary feature, he has found an star to propel this honest biopic. Rosamund Pike's portrayal of Marie Colvin is nothing short than fantastic. Verily a career milestone for an actress that, never lacking in any role, probably has to date not received a role that would allow her stretch her fully to her wide span. Pike's depiction of Colvin is not as a rough and ready mercenary, but as a compassionate soul burdened by empathy and horror.
This is not a sound-staged depiction of Hollywood war, caught in 3d from a myriad of angles and slow motion. Large swaths of this movie were filmed in Jordan and the effects war remain to be seen in the scenes depicted. The plot is simple. It is the Career of Colvin, building steadily and slowly towards her death in Syria, 2012. Rather than the usual jumble of plot and sub-plot, action-heroes and loveable side-kicks, what this film calls on us to witness is the tolls of war; on those who have no choice to try and survive them, and those who, so the world may know the truths monsters would hide, willingly endure hell so other people's stories may see the light of day.
Clash of the Titans (2010)
A star studded cast darkened over by the thick veil of a woeful script.
Liam Neeson, Ralph Fiennes, Gemma Arterton, Alexa Davalos, Mads Mikkelsen, Nicholas Hoult, Liam Cunningham, all fail to shine in this plot-by-numbers, pave-it-over-with-cgi, movie. There is only so much fair set design, costume, and practical prosthetics can do to hide an otherwise shallow film. Especially when it's normally A list cast seem board and listless throughout. If there is one saving grace to the cast it is Gemma Arteron, in that she alone seemed to relish her role as Io, the human cursed with immortal life for refusing the advances of Zeus.
This picture has swords, it has sandals, it has revenge arcs that kind of make sense, and mythical creatures that add up if you don't ask too many questions. What it doesn't have is the grand sense of adventure that classics so normally thrive on. Large blocks of dialogue and crude plot advancement hang between set-piece action segments that frankly are un-inspired. Often we are pulled out of blade flashing fury, that is the film's meat, in an attempt to reaffirm the motivations and morals of characters, that frankly, we couldn't really care about. Too many of the the journeying ensemble just seem from the start to be plot-fodder, and every twist and turn seemed to be blatantly telegraphed.
If anything, of all the films on this site, this title probably least requires of a review. The characters are insipid, the story mundane, and the performances lacklustre. Its only surprise (other than its box office takings) is that it wasn't directed by Uwe Boll. But when all said and done; if you're home of a rainy Sunday, and this movie is on, it will while away the two hours between dinner and a sneaky pint. And whiling away time is exactly what this film was designed to do. So good in fact is this movie at whiling away time that it might just convince you to head to the pub early. If not, the 1981 version is always a classic.
Booksmart (2019)
A movie of its time, for its time, in its time.
When you think of 'generational' movies, adolescence period pieces as they are, it's easy far too easy to be taken in and swept away by the nostalgia factor. The settings of stories such as Dazed and Confused, Fast Times At Ridgemont High, Empire Records, are so swaddled in a blanket of reminiscence and rose tinted memory that it is easy to miss an authentic showing of current young culture as is offered up to us in Booksmart.
An episodic movie, we follow Amy and Molly on their hi-jinx filled night of calamities and accidental parties as they attempt to make up for a lack of partying in their high schooling lives. The drive of the film are the characters fantastically made flesh by Dever and Feldstein, the charm of the film certainly lives in the tangible, almost magical, connection of friendship between the two.
A well paced story this odyssey-by-night plot line is well maintained by strong, on point and in the zeitgeist humour that can cut generational divides, even as it stretches to the bounds to an oddness that may alienate some. A strong sound track backs up the unfolding journey, and a solid range of supporting characters help fill out the canvas. For Wilde's full debut as a director this flick is certainly a win.
The Irishman (2019)
Imagine Goodfellas without the mad-cap energy of Ray Liotta, the gritty scenes of a life by night, or any of the authenticity Scorsese usually flawlessly achieves.
I'm sure cast and crew had a blast making this movie, but for us as fans I think we could of benefited from a younger cast, an ambitious cinematographer, and a less patient editor. I feel that so much was let to rest on the dynamism of these once great actors, resulting in stifled scenes that lumber, and the presentation of caricatures quickly assumed, rather fully fleshed characters.
There is little to grasp the viewer and pull them through this movie. Even as a fan of long, roaming, historic and biopic works, I found myself asking just why was I watching this film far too early into its 3.5hrs, and far too often. It is not that it meanders, but plods, with very little justification or pay out. Contrary to some I am in favour of the floating tiles that appear over background characters, informing us of their names and the situations of their eventual death, it shows the knowledge of the film-maker of the history surrounding the event. There are some gold turns of dialogue, and the set up of placing two actors at a table and have them play against eachother sometimes pays out. But rarely.
For the whole the film is spirited, but slow and shallow. There is very little feeling of emotional engagement or risk. It's a history lesson that no one wanted, from a point of view that is out-dated; lacking in any character work other than three, sometimes superb actors, rolling it off the cuff in criss crossing A/B shots of talking heads. My recommendation would be to go watch Casino. It's shorter, it has a more substantial story, and the actors earn their tremendous wage.