Review: Macbeth

Year: 2015
Director: Justin Kurzel
Screenplay: Todd Louiso, Jacob Koskoff, Michael Lesslie
Starring: Michael Fassbender, Marion Cotillard, Paddy Considine, Sean Harris, Jack Reynor, Elizabeth Debicki, David Thewlis

Synopsis is here:

Note: Spoilers are featured, but I’d be slightly worried if you don’t know the story.

Despite his status as the world’s greatest playwright, for many, the name William Shakespeare only provides recollections of dog eared worn school books. Possibly with drab, seemingly never ending lessons. Will is the most important English writer, but how he’s taught can often be a dour experience.

Enter Snowtown director Justin Kurzel’s Macbeth, which could possibly revive those half-forgotten memories of lost afternoons buried in reference books. This adaptation isn’t by no way horrible to look at. Its lavish cinematography is light years ahead of the Shakespeare animated tales that this blogger had to watch. Despite this, through the gloomy mist and ground muddied by split blood and sweat, Kurzel’s Macbeth is a peculiarly subdued adaptation.

The beauty of cinematic adaptation, fanboys be damned, is what another pair of hands can do to mold the clay. Here Kurzel works with what he’s known for: getting down with the dirt. Much like Snowtown, you can feel the grit under the nails of everyone involved. The secondary actors, who speak with genuine Scottish accents are distracting at times, but only due to the nature of how often Shakespeare is displayed to us. Such naturalistic tones along with the simple set design and Barry Lyndon style low lighting, keeps the atmosphere of the piece as rough as it can be.

In terms of aesthetic This is a rugged and raw Macbeth, which can clearly be seen from the cast that’s been picked. The likes of Paddy Considine and Sean Harris are actors that can convey the kind coarseness that Kurzel is clearly aiming for. The main players of Michael Fassbender and the wide eyed Marion Cotillard are also game. Capturing the desperation and guilt of the Macbeth couple as they grasp for power and disintegrate because of it. Fassbender seemed to have been made for such a role. After the execution of his gutless deed, we witness a dogged Macbeth lie next to the murdered King in a moment of anxiety and foreboding. It’s a slight moment, but one that exposes the inverted vulnerability that Fassbender could do in his sleep.

Through the sweat and dirt, however, there’s a lack of urgency through most of the piece. There’s much to try and take from Macbeth. From its operatic opening sequences to slow motion battle sections. The film’s score is one that howls and squeals like the Highland winds. Add to this the dramatic performances and it’s seems to be a relatively solid adaptation.

Despite this, there doesn’t seem to be anything to full grip on to. This Macbeth is a subdued and slippery beast. It almost feels as it is covered in the same claret that coats Macbeth’s treacherous hands. It gives us little else than a simple telling of the tale.

This is where the beauty of adaptation comes in. You can give us something else. This Macbeth is released at a time where many feel our leaders feel more disingenuous than ever before. Meanwhile, our media douse us with a type of paranoia that previous dictators would happily pay for. Yet, Kurzel and the three screenwriters only really muddy the aesthetic. This is an adaptation that may not wish to be tainted with anything that may date it within the era it was made. However, apart from hushed renditions of some of the bard’s most recognised soliloquys and Macbeth’s madness being observed as a type of PTSD, we’re given little complexity or definition.

The beauty of Shakespeare isn't just in the words (although Fassbender and Cotillard have an eloquent command of the dialogue) but in what else you can bring to the adaptation. The source is strong and always will be, but in the end Macbeth feels as airy and tenuous as the three witches who haunt Macbeth’s dreams and battlefields.

Review: The Martian

Year: 2015

Director: Ridley Scott

Screenplay: Drew Goddard

Starring: Jessica Chastain, Kristen Wiig, Jeff Daniels, Michael Peña, Kate Mara, Sean Bean, Sebastian Stan, Aksel Hennie, and Chiwetel Ejiofor

Synopsis is here:

There is a solid argument which considers that The Martian is a safe film. A film that answers that leaves no frayed ends. Any questions asked, are quickly answered. It’s a film with no typical conflict. Yet when Ridley Scott leaves things open ended (Prometheus) or delivers a dangerous, uncompromising feature (The Counsellor) the filmmaker is quickly disregarded. The Martian almost plays out less like a resigned “I give up” and more like a brash “fuck you” to naysayers. If it’s a safe movie you want (and the expansion of all franchises ever claim you do), then Mr Scott is going to provide the most polished “safe” movie he can provide.

For a film which holds a running time that’s safely over two hours, Scott’s ode to progressive humanity briskly moves with an unexpected swiftness. Quickly landing us within the films predicament, The Martian shows what an entertaining craftsman Scott can be. The Martian finds itself in similar territory to Unstoppable (2010), directed by Ridley’s late brother Tony. The world and set up are quickly established so the film can get on to what it really wants to talk about: Human co-operation.

Much like Unstoppable, The Martian doesn’t really have much in the way of conflict. Unlike Alien (1979), this isn’t about petty hostility paving the way for larger animosity. The Martian actually invests its time in showing human capabilities. It mines enjoyment from intelligent people doing smart and considered things.Matt Damon’s everyman likability help provide a solid foundation to the proceedings. Damon’s Mark Watney, the unfortunate interplanetary castaway, never feels like an empty audience vessel, nor does his ability to his way through particular circumstances feel like a cheat. Much of this is down to Drew Goodard spry script, along with Ridley’s direction. The heavier moments (budget talk, the science, and the media circus) never feel heavy. The film plays with the right sense of broadness in mind.

As The Martian expands, so too does the involvement of the film’s ample cast. Scott, who went under fire for his casting choices and comments on Exodus: Gods and Kings, now delivers a diverse and multi-cultural cast which spans from America through to China. Of course, there’s still complaints of the film whitewashing certain characters based on assumptions. This is also in spite of the author not being explicit with the character representation. Due to the film doing much to invest in a diverse cast, such criticisms should really fall to the wayside. It should be said, however, that a few of the films female characters seem to lack a sense of agency and felt more like a collection of reaction shots than fully fleshed out characters. Yet it’s still important to see everyone with a particular role to play, and The Martian endeavours to highlight this in the film's politics.

Such an argument is clearly observed with the role of Rich Purnell played by Donald Glover. One can debate that Glover’s role is small and collection of clichés. But we must also contend with the fact that Purnell’s role within the plot is not only pivotal but could possibly hold one of the most inspirational representation of Afro-Americans in 2015. The role of Purnell is a microcosm of the Watney’s situation as well as the film’s theme: No matter how small, you hold an importance. We hold an importance.

The Martian seems influenced from not only lesser known sci-fi such as Silent Running (1972) and Moon (2009) but also more populist features such as Interstellar (2014) as well as Scott’s own Alien (1979) and Prometheus (2013). Damon has also mentioned that the likes of Touching the Void (2003) is an inspiration.  It’s a testament to Scott’s craft on just how well he melds these elements into such a crowd pleasing compound. The Martian’s ability to make its humour, science and stakes so palatable and balanced is amongst its best features. But add to that the film’s gorgeous visuals, dynamic set pieces and dependable performances and the result is one of the most enjoyable mainstream productions of the year. Safe? Perhaps, but The Martian is a blockbuster that is willing to highlight bravery and smarts over superpowers and preordained destiny as heroic. In the current environment, it actually feels quite daring.

EPISODE 34 - Legend, Maze Runner: The Scorch Trials - 16.9.15

Tony Black hosts once again and this week is joined by Leslie Byron Pitt and, making his podcast and Black Hole Cinema debut, Kane Richards. They chow down on the latest NEWS, including Sam Smith belting out the latest Bond theme, the new Hardcore trailer & the upcoming King Kong vs Godzilla recently announced, before getting into the films of the day... LEGEND, the new Tom Hardy starring biopic of the Kray brothers, which Les & Kane get into... We take a joint look at both the UK *and* US Box Office, to see how they compare... Then we move on to MAZE RUNNER: THE SCORCH TRIALS, the latest young adult adaptation sequel, and Tony explains why it fails to match the first... Before we take a more in depth look at Tom Hardy's career in our ACTOR SPOTLIGHT section, discussing his highs and lows... Hope that you join us for the ride!

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Review: Legend

Year: 2015

Director: Brian Helgeland

Screenplay: Brian Helgeland

Starring: Tom Hardy, Emily Browning, David Thewlis, Duffy, Christopher Ecclestone, Chazz Palminteri

Synopsis is here

Emily Browning has recently spoken out about the discrepancy in women's roles in comparison to Mens. The actress rightly questions why we see so many flat female characters who don't "act like human beings" and has called for female roles with greater autonomy and there's many out there who would wholeheartedly agree. However, in watching Browning's one note portrayal of Frances Shea; tragic wife of Reggie Kray, in Legend, one may have to search elsewhere for the thorough portrayals that the actress yearns for.

It's easy to slight Browning's performance. From the dubious cockney accent to the horridly dry narration that flutters in and out of the film, but it's not the actress's fault, although she has been better. There's a feeling that the material has left her out to dry somewhat. Browning may be riling against the vapid "hot babe" model that we witness constantly in films, but her performance has Frances never really shifts a gear. She looks glamourous when she has to be, and distressed when she doesn't have to look good. Browning narrates the film in order for the audience to see it from her point of view. However the screenplay by writer/director Brian Helgeland is a rather sour piece that's more interested in informing us rather than feeling anything. Constantly the film will joylessly tell us what's on screen rather than allowing the audience to infer for themselves via the camera or performances. It jars with the films already bumpy rhythms. Instead of seeing Browning emote fully, the voice over is quick to tell us how to feel. 

Browning, as well as much of the top quality cast, is pushed to the edges by a dominating Tom Hardy, who holds dual roles as both the infamous Kray twins, Reggie and Ronnie. This is a showcase for the charismatic actor who takes what could have been a cheap gimmick (it uses some Social Network style image trickery) and puts forth two remarkable displays. Reggie has the cocksure swagger, while Ronnie is clouded by intense paranoia. The beauty of Hardy's performances are in the small details and differences. Even the poise and murmurs from either brother is vastly different. In terms of performance it always feels like you're watching two different people. 

Mentioning Tom Hardy's superlative displays, only makes the rest of the film pale even more in comparison. Minus Hardy, and Legend is a rather listless affair. Much like how the brothers hid their brutal crimes around a veneer of celebrity, the film does a great job of hiding a lot of the nastiness that ensued. Legend enjoys claiming that it's coming from the eyes of those who knew the brothers, but the film often seems so preoccupied with infusing a Goodfellas-lite charm to the brothers, that it forgets just how well the best gangster films balance the ugliness with the romance. Helgeland clearly has certain cinematic influences on his mind in his visualisation of this, and the film holds enough humour and brutality that may appease casual gangster fans. However, for the most part, Legend is over egged, overlong and lacks the kind of energy that would make it stand out in a line up.   

Review: Inside Out

Review: Inside Out
Year: 2015
Director: Peter Docter
Screenplay: Pete Docter, Meg LeFauve, Josh Cooley
Starring: Amy Poehler, Phyllis Smith, Bill Hader, Lewis Black, Mindy Kaling, Richard Kind, Kaitlyn Dias, Diane Lane, Kyle MacLachlan

Synopsis is here:

It’s easy to say that Inside Out is a return to form for Pixar, who have “struggled” with their recent output. Yet even the studio’s weaker efforts are of a higher standard than regular mainstream Hollywood output. Despite the amount of distain critics gave the likes of Brave (2012), it’s still a film with stronger storytelling and jokes than say, Let’s be Cops (2014). It’s more mature too.
However, this latest entry into the Pixar chronicles, certainly deserves to be in the upper echelons of their hall of fame. It’s a movie that shows that once again, when Pixar land upon the right concept that fits their own particular brand of emotional storytelling, they really hit the mark.

The likes of Wall-E (2008) took their characters into the far reaches of outer space. Now we approach inner space as we navigate the universe of the human body. Not just any human body, but that of an 11 year old girl. Inside Out is set in the mind of Riley, who has just been informed by her parents that they will be moving from the Midwest to San Francisco. Her emotions - Joy, Sadness, Disgust, Anger and Fear - who control and shape Riley soon find themselves in an inner conflict as they try re-examine and manoeuvre around the new and dramatic changes that are occurring around them.

What makes this premier Pixar is the sharpness of execution. The concepts that the film are placing forth are deceptively complex when we place them in consideration, yet Pete Docter’s film delicately implements the profundity of human emotions and not only makes the idea digestible to the young, but palatable to adults in a way that is never condescending, and always relatable. It does this during an era in which larger studio films seem to be petrified to even attempt at what Inside Out is trying to do. The film’s main message, which debates and succeeds in explaining why emotion is needed, is not only thoughtful, but suddenly necessary when we consider how our cinematic culture is troublingly stumbling around the human condition. Negative reactions towards Inside Out have stated that the film is depressing, as if only half of the film's message has been taken on board.

Amusingly to complain that the film isn’t as overly optimistic as some would like, only details how this era of cinematic universes, alternate timelines and forced happy endings with non-subtle hints of continuation, have effected audiences. That Inside Out raises the notion of sadness being one of the things we need in order to grow, puts a lot of the current franchises to shame. Mostly as their arrested development and commercial duties. Refrain from the idea of anything negative really happening to the protagonists, even if they have to save the world.

The honesty which lies in Inside Out points the film out as one of the most mature mainstream films of the year. This is not to say that mainstream cinema hasn’t been enjoyable, it certainly has been. However, it’s feeling like fewer have really asked the audience to consider themselves in the same way as Pixar’s does. The films smartness is subtle. Observe the moments when we leap into the minds of other characters and see who leads the charge in each. Joy is the head honcho in Riley’s head. We move across to her father’s head and we see that it’s Anger that rules the roost. A factor the quietly coincides with the outer framing of the film (the house move has not been smooth). Notice the sophistication that takes place when the emotions fight over controls and curation of “core memories” and how the outcome of Joy and Sadness’ adventure alters them.

The amount of the thought that’s placed into sight gags is equally as striking. A blink and you miss it joke about thoughts and opinions jumbled becoming jumbled, isn’t just a quick witted moment of jest, but a frank commentary on our times, when we notice how the media now works. The idea of an irritating earworm is amusing on the surface, yet it reaches a deeper level when you notice that one particular emotion ALWAYS triggers the process. That’s no accident. Neither is the observing the shift of dynamics when Joy and Sadness are no longer in control. It’s a film tackling how different emotions alter perception, all under the guise of family fun.

This is what Pixar does best. Within such a hefty concept they never forget to construct relationships and emotions in a way that other filmmakers seem uninterested in pursuing. Whether the power of commerce may refrain others from really letting loose, I do not know. But it says a lot that it’s a Disney Pixar movie I’ll need to go to in order to watch a film happily reference Avant grade art in a realm of abstract thought.

The animation isn’t the most rousing of Pixar’s work, while Amy Poehler’s spunky and sprightly performance will only truly feel like inspired casting for those who know nothing of her past works, yet Inside Out still provides deeply absorbing, high quality entertainment from start to finish. Whether your favourite moment involves the wonderfully cast Phyllis Smith as the films MVP; Sadness, Anger’s (Lewis Black) hilarious outbursts or even saying goodbye to the youthful parts of your imagination, Pixar once again flex their muscles and distil the intricate and poignant into delightful mainstream enjoyment. That they do so with seemingly such ease makes you wonder just what the guys making so-called adult films are doing.

*Note: I wonder if the film at any point reminded anybody of the French/Japanesse Edutainment Cartoon; Once Upon a Time...Life? It was the first thing the sprang to mind when watching the film.