Year: 2009 (2010 UK Theatrical Release)
Director: Stuart Hazeldine
Screenplay: Simon Garrity, Stuart Hazeldine
Starring: Colin Salmon, Jimi Mistry, Luke Mably
"I don't know if I liked that movie" says my girlfriend before she departs my house. I know the feeling. It's been over an hour since the credits of Exam rolled and I'm still undecided,.. Is it shot well? Yes. It is uniformly smart in it's appearance. Has it got a interesting premise? Yep. With the overall film feeling like a nod to the Canadian sci-fi flick Cube, the film has got a hook that could more than reel in a few genre fans. What about conflict? Sure. It has some moments of tension and the film does it's best with its one room local. But what was it that distanced me so much from this film not to embrace it enough even for thinking about a second viewing.
My answer is investment. As the film's plot delves deeper and deeper, I found myself becoming more frustrated. The stakes are high, but the characters are just too stoic, too unapproachable, 2-dimensional. It's hard to care about any of them as Hazeldine's film paints every character the same shade of grey. At no point do you feel one of the characters tugging at your emotions, or if they do, it's not enough for you to feel good/bad if your feeling of the outcome is right/wrong. As the characters flip flopped between being good or bad, at no point did I find myself actually caring about the outcome of these people. The loudest character is played ably enough by Luke Mably but the character is a prick, and not even a charming one at that.
I'd love to say more about the acting, but the combination of stiff dialogue and little known actors (expect 2 fairly standard displays by Colin Salmon and Jimi Mistry) do nothing to really win me over, and it's essential in a film like this to have your thoughts and apprehensions pulled all over the place by the characters actions. The lack of this tug of war game allows the film to coast on rails from it's eyebrow raising beginning when you hear all the rules, to the eventual outcome. In a film like this where all the characters are labeled by their most basic aspects of their character (the black guy is called black etc.) why wasn't more of this brought up to create a sense of tension? It could have been possible.
Unfortunately, there isn't enough in Exam for me to warrant a recommendation for everyone other than those who are really into those oddball features you wander past while looking for something else. The interest within the actual film is almost the same level as when you pick up the cover, scan the back, shrug and replace.
Friday, 1 October 2010
Wednesday, 29 September 2010
Review: Exit through the Gift Shop.
Year: 2010
Director: Banksy
Screenplay: ?
Starring: Banksy, Thierry Guetta
Synopsis is here
Is it real? Is it fake? Is it all a big joke? It doesn't matter in the slightest because Banksy's "documentary" was really quite wonderful to my eyes. So much of it feels a little too "complete" to feel like an accurate documentation. However, in hindsight, that's not really the point, because what Exit wishes do is show street art at humble beginnings. Constantly he runs the line between when art becomes nothing but commerce before teasing the idea that the director is not a sell out...or is he? The film likes to play around with so much of it's content it's at times difficult to pinpoint how far the message turns into ego massaging.
But this is where the fun lies, as a documentary; it's a consistently watchable feature, charting the rise and peak of not only a niche culture(Graffiti now under the guise of "street art"), but of it's wildly eccentric subject in French Shopkeeper Thierry Guetta. Banksy melds intriguing personality with interesting premise effectively and at face value, what you have is well put together account of a very passionate man. Scratch the surface (or watch a couple of films) and the film is as authentic as the ten pound notes you see halfway through the film. But suddenly we realize that in playing the film out as fiction the message becomes clear.
Bansky's film takes what some considers an artform (graffiti) and not only documents it's craft, it's hazards and controversy (consider an updated style wars maybe) but it shows how the message and reasons behind these images (politics, humour, or just being noticed) can suddenly become lost when the calling of fame and celebrity come calling. In one moment former street artist Shepard Fairey (behind the now iconic Obama "hope" image) states "The more you see of an image, the more power it brings" and Banksy toys with this interesting theme with a layered sequence involving his own L.A installations. As Hollywood's finest stroll amongst the imagery, Banksy is actually at Disneyland inflating a Guantanamo Bay Air model prisoner beside one of the kids rides. When you are told that the many news presenters are reporting about the fact that a real elephant (covered in pink kid's hand paint) is displayed in a bedroom at the installation. The full stop on these two seemingly unrelated oddball exercises is the date: The anniversary of 9/11.
But it's not all about proverbial/literal elephants in the room, the film is constantly humorous in it's small moments as well. The comment of the old lady who sees Bansky's "murdered telephone" piece is a deceptively obvious yet amusing one, while Guetta's street art video will feel familiar to those who've had to suffer art and experiment video production at university or at least a bad skate video. The juxtaposition of street artists being stopped by cops while an art collector mentions later on that she got everyone to buy a Banksy also provides a knowing smile.
But the most interesting thing about Banksy film is it's director using a different artform for the first time to demonstrate how when an artform becomes a commodity, it's in danger of losing subjectivity and danger. By the time we reach the unveiling of Guetta's own pet art project "Mr brainwash" He also demonstrates how not everyone can just become an artist. It's brilliant to use street art as the background for such a them with it's roots in hip-hop, but Banksy's film is so universal in it's telling that comparisons can be utilized not only to hip-hop, but paintings and films themselves.
I've been quite indifferent to Banksy for the most part but in watching this I feel that as an artist i don't think the man has "sold out". I think like many people who get thrust in a public eye for truly doing something that people find interesting is trying to push different messages out in different forms while trying to keep that personality. Exit Through the Gift Shop may be a film but it invokes the same reckless spirit that Banksy's street paintings have.
Director: Banksy
Screenplay: ?
Starring: Banksy, Thierry Guetta
Synopsis is here
Is it real? Is it fake? Is it all a big joke? It doesn't matter in the slightest because Banksy's "documentary" was really quite wonderful to my eyes. So much of it feels a little too "complete" to feel like an accurate documentation. However, in hindsight, that's not really the point, because what Exit wishes do is show street art at humble beginnings. Constantly he runs the line between when art becomes nothing but commerce before teasing the idea that the director is not a sell out...or is he? The film likes to play around with so much of it's content it's at times difficult to pinpoint how far the message turns into ego massaging.
But this is where the fun lies, as a documentary; it's a consistently watchable feature, charting the rise and peak of not only a niche culture(Graffiti now under the guise of "street art"), but of it's wildly eccentric subject in French Shopkeeper Thierry Guetta. Banksy melds intriguing personality with interesting premise effectively and at face value, what you have is well put together account of a very passionate man. Scratch the surface (or watch a couple of films) and the film is as authentic as the ten pound notes you see halfway through the film. But suddenly we realize that in playing the film out as fiction the message becomes clear.
Bansky's film takes what some considers an artform (graffiti) and not only documents it's craft, it's hazards and controversy (consider an updated style wars maybe) but it shows how the message and reasons behind these images (politics, humour, or just being noticed) can suddenly become lost when the calling of fame and celebrity come calling. In one moment former street artist Shepard Fairey (behind the now iconic Obama "hope" image) states "The more you see of an image, the more power it brings" and Banksy toys with this interesting theme with a layered sequence involving his own L.A installations. As Hollywood's finest stroll amongst the imagery, Banksy is actually at Disneyland inflating a Guantanamo Bay Air model prisoner beside one of the kids rides. When you are told that the many news presenters are reporting about the fact that a real elephant (covered in pink kid's hand paint) is displayed in a bedroom at the installation. The full stop on these two seemingly unrelated oddball exercises is the date: The anniversary of 9/11.
But it's not all about proverbial/literal elephants in the room, the film is constantly humorous in it's small moments as well. The comment of the old lady who sees Bansky's "murdered telephone" piece is a deceptively obvious yet amusing one, while Guetta's street art video will feel familiar to those who've had to suffer art and experiment video production at university or at least a bad skate video. The juxtaposition of street artists being stopped by cops while an art collector mentions later on that she got everyone to buy a Banksy also provides a knowing smile.
But the most interesting thing about Banksy film is it's director using a different artform for the first time to demonstrate how when an artform becomes a commodity, it's in danger of losing subjectivity and danger. By the time we reach the unveiling of Guetta's own pet art project "Mr brainwash" He also demonstrates how not everyone can just become an artist. It's brilliant to use street art as the background for such a them with it's roots in hip-hop, but Banksy's film is so universal in it's telling that comparisons can be utilized not only to hip-hop, but paintings and films themselves.
I've been quite indifferent to Banksy for the most part but in watching this I feel that as an artist i don't think the man has "sold out". I think like many people who get thrust in a public eye for truly doing something that people find interesting is trying to push different messages out in different forms while trying to keep that personality. Exit Through the Gift Shop may be a film but it invokes the same reckless spirit that Banksy's street paintings have.
Sunday, 26 September 2010
Review: The Town
Year: 2010
Director: Ben Affleck
Screenplay: Aaron Stockard, Peter Craig, Ben Affleck
Starring: Ben Affleck, Jon Hamm, Rebecca Hall, Jeremy Renner, Blake Lively, Pete Postlethwaite, Chris Cooper
Synopsis is here
As an actor, Ben Affleck shouldn't star in movies beginning with the letter P (Paycheck, Pearl Harbour, Phantoms all terrible in their own special way). However as a director, he can take whatever he wants right now, as his second feature, The Town, is a solid crime drama with a rounded cast and well crafted set pieces.
The first thing I noticed about the film is it's sense of place, and how grounded everything feels. Affleck's confident direction manages to give us a strong grip of the setting and characters, from it's opening dialogue (detailing the notoriety of Charlestown, Boston), to it's no nonsense heist and chase set-pieces, the film's simply constructed scenes really show us how high the stakes are for those involved. One first glance you feels these characters have near to nothing, but it's that need to hold on to whatever they have that keeps the film interesting. Looks hide secrets, words have the right weight on them to feel loaded. Affleck's direction of the actors to convey these moments show that he clearly picked something up when he was on all those other film sets.
These performances are needed as they distracted me from the films story as unfortunately it is not the freshest thing on these years menu. It's one last job plot is a safe and rigid bet but it's also one that really doesn't say anything different. It's a safe rigid structure that isn't a bad thing but does little to sway me from other films that I own in my collection. A quick glance on the net before writing this had people uttering Heat in the same vicinity and while that's high praise indeed, quite simply that particular film has more to say. If there's a negative thing I have say about The Town, it's that until the final moments, it feels like it's on rails.
Unoriginal doesn't mean you cannot enjoy it, and The Town works by having a more than enough entertaining scenes. The opening heist has all the confusion and aggression of a bank robbery but also subtlety introduces us to certain aspects of the characters personalities. Two small (but well thought of) moments within that scene involve Affleck cutting from the action being seen in "real time" POV and switching to grainy black and white CCTV only allowing the quiet hiss of the recording keep us safe before jumping back into the visceral sequence taking place. Another scene features Jon Hamm's FBI Agent Frawley and Blake Lively's drugged out ex-girlfriend Krista playing out like a guy picking up a girl and ending up to be something else entirely. One of the strongest moments is a scene in which a moment of light conversation quickly ripples with tension due to the appearance of a tattoo. When elements like this play out, the film is really in it's element.
The ensemble cast is accurately chosen, and deliver the performances needed for a film like this. Veteran's such as Chris Cooper and Pete Postlethwaite give small but pivotal moments, while Jon Hamm and Blake Lively give watchable and fresh introductory performances for those who don't watch Mad Men or Gossip Girl respectively. Jeremy Renner once again shows his talents as the live wire Jem. This is a performance that in the wrong hands would have been an attention seeking display of OTT cheese but here, he places the right amount of damper on the trigger happy character to make sure that the danger is shown and not the hammy. Rebecca Hall has the right amount of vulnerability and honestly to care for her, while Affleck in the lead as the reluctant thief struggles slightly with some of the extended monologues, but gives an impressive presence which is not only imposing but also has ability to pull off a sense of calm.
The Town has a lot going for it. It's action gives a rush that was missing from one or two of the summer movies, the character moments work well the pace of the film build well and I was never bored. The film's ending however leaves me conflicted. as I'm not sure as if it's a cop out or not. It doesn't really ring true, this may be however due to the amount of sympathy related to our lead character. Affleck almost overreaches here trying to get me to feel for something that I don't think it's lead deserves.On another day I may have found it a complex conclusion as it strays slightly from what I expected. However looking back the final moments I found myself just a a little bit frustrated. Don't let that or it's relatively safe story sway you though, Affleck is a competent director and The Town is a well executed, adult, crime drama worth your notes for a ticket.
Director: Ben Affleck
Screenplay: Aaron Stockard, Peter Craig, Ben Affleck
Starring: Ben Affleck, Jon Hamm, Rebecca Hall, Jeremy Renner, Blake Lively, Pete Postlethwaite, Chris Cooper
Synopsis is here
As an actor, Ben Affleck shouldn't star in movies beginning with the letter P (Paycheck, Pearl Harbour, Phantoms all terrible in their own special way). However as a director, he can take whatever he wants right now, as his second feature, The Town, is a solid crime drama with a rounded cast and well crafted set pieces.
The first thing I noticed about the film is it's sense of place, and how grounded everything feels. Affleck's confident direction manages to give us a strong grip of the setting and characters, from it's opening dialogue (detailing the notoriety of Charlestown, Boston), to it's no nonsense heist and chase set-pieces, the film's simply constructed scenes really show us how high the stakes are for those involved. One first glance you feels these characters have near to nothing, but it's that need to hold on to whatever they have that keeps the film interesting. Looks hide secrets, words have the right weight on them to feel loaded. Affleck's direction of the actors to convey these moments show that he clearly picked something up when he was on all those other film sets.
These performances are needed as they distracted me from the films story as unfortunately it is not the freshest thing on these years menu. It's one last job plot is a safe and rigid bet but it's also one that really doesn't say anything different. It's a safe rigid structure that isn't a bad thing but does little to sway me from other films that I own in my collection. A quick glance on the net before writing this had people uttering Heat in the same vicinity and while that's high praise indeed, quite simply that particular film has more to say. If there's a negative thing I have say about The Town, it's that until the final moments, it feels like it's on rails.
Unoriginal doesn't mean you cannot enjoy it, and The Town works by having a more than enough entertaining scenes. The opening heist has all the confusion and aggression of a bank robbery but also subtlety introduces us to certain aspects of the characters personalities. Two small (but well thought of) moments within that scene involve Affleck cutting from the action being seen in "real time" POV and switching to grainy black and white CCTV only allowing the quiet hiss of the recording keep us safe before jumping back into the visceral sequence taking place. Another scene features Jon Hamm's FBI Agent Frawley and Blake Lively's drugged out ex-girlfriend Krista playing out like a guy picking up a girl and ending up to be something else entirely. One of the strongest moments is a scene in which a moment of light conversation quickly ripples with tension due to the appearance of a tattoo. When elements like this play out, the film is really in it's element.
The ensemble cast is accurately chosen, and deliver the performances needed for a film like this. Veteran's such as Chris Cooper and Pete Postlethwaite give small but pivotal moments, while Jon Hamm and Blake Lively give watchable and fresh introductory performances for those who don't watch Mad Men or Gossip Girl respectively. Jeremy Renner once again shows his talents as the live wire Jem. This is a performance that in the wrong hands would have been an attention seeking display of OTT cheese but here, he places the right amount of damper on the trigger happy character to make sure that the danger is shown and not the hammy. Rebecca Hall has the right amount of vulnerability and honestly to care for her, while Affleck in the lead as the reluctant thief struggles slightly with some of the extended monologues, but gives an impressive presence which is not only imposing but also has ability to pull off a sense of calm.
The Town has a lot going for it. It's action gives a rush that was missing from one or two of the summer movies, the character moments work well the pace of the film build well and I was never bored. The film's ending however leaves me conflicted. as I'm not sure as if it's a cop out or not. It doesn't really ring true, this may be however due to the amount of sympathy related to our lead character. Affleck almost overreaches here trying to get me to feel for something that I don't think it's lead deserves.On another day I may have found it a complex conclusion as it strays slightly from what I expected. However looking back the final moments I found myself just a a little bit frustrated. Don't let that or it's relatively safe story sway you though, Affleck is a competent director and The Town is a well executed, adult, crime drama worth your notes for a ticket.
Monday, 20 September 2010
Review: The Other Guys
Year: 2010
Director: Adam McKay
Screenplay: Adam Mckay, Chris Henchy
Starring: Will Farrell, Mark Wahlberg, Samuel L Jackson, Dwayne Johnson, Eva Mendes, Steve Coogan, Micheal Keaton.
Synopsis is here
Much like Monty Python, the comic styling of Mckay and Farrell are an acquired taste at the best of times. The improv oneliners and oddball acts of randomness sometimes feel like the two have just thrown everything at a wall to see what sticks. However in The Other Guys, with it's deconstruction of buddy cop plots and almost mature touches of commentary (constantly hinting at the average joe being stiffed by the big guys), the film feels much more complete; and less like a bunch of random skits.
It's capitalist crime job which is the underlying plot for the comic weirdness feels a little too on point, but also appears to rip on the 80's and 90's cop actioners excess not only in movies (the beginning would make Don Simpson raise from the grave.) but white collar excess and blindsiding in general. A prime example would be Coogan's criminal character using sports/theatre tickets to bribe our "other guys". It's amusing enough, and is helped along by the feeling that the gag feels topical.
But it also helps that while appearing quite sly with certain digs, it has Marky Mark at the forefront slapping me round the face with his comic chops. I've never been the biggest fan of Wahlberg, however here, I found his display funnier than Farrells usual shtick. Wahlberg's angry little man-dances and vacant expression to me where a constant riot. His short man syndrome had me constantly cracking up. Farrell has his moments (the "gator" backstory is a tad overused but giggle worthy), but I found myself constantly wanting to see the wannabe macho Wahlberg flare up again.
But it's not just machismo and physical humor that had me going but was also smaller things in the direction and writing (I know, in a Will Farrell feature!). Mckay's constant digging at the the genre was a great source of humor to me. Example? Watch the over edited, green-screened beginning and compare it to the last set-piece that actually allows you to see the action. While it doesn't skewer the genre as well as Edgar Wright's forever watchable Hot Fuzz, there are moments in The Other Guy that show it has its head in the right direction.
It's not all great. The film runs out of stream in the last third, and like many Farrell films; if you don't know the obscure pop culture references then you can be left stranded. It's also coming apparent that Farrell's exposure since Anchorman has been so high that his appeal is starting to wane. But still, the rhythm of the randomness hits that sweet spot more often than not, while the supporting players are not only game but use their time to shine well. Add an Angry Wahlberg and some pot shots at the genre that hit hard than Kevin Smith's plodding Cop Out and you got yourself a good giggle.
Director: Adam McKay
Screenplay: Adam Mckay, Chris Henchy
Starring: Will Farrell, Mark Wahlberg, Samuel L Jackson, Dwayne Johnson, Eva Mendes, Steve Coogan, Micheal Keaton.
Synopsis is here
Much like Monty Python, the comic styling of Mckay and Farrell are an acquired taste at the best of times. The improv oneliners and oddball acts of randomness sometimes feel like the two have just thrown everything at a wall to see what sticks. However in The Other Guys, with it's deconstruction of buddy cop plots and almost mature touches of commentary (constantly hinting at the average joe being stiffed by the big guys), the film feels much more complete; and less like a bunch of random skits.
It's capitalist crime job which is the underlying plot for the comic weirdness feels a little too on point, but also appears to rip on the 80's and 90's cop actioners excess not only in movies (the beginning would make Don Simpson raise from the grave.) but white collar excess and blindsiding in general. A prime example would be Coogan's criminal character using sports/theatre tickets to bribe our "other guys". It's amusing enough, and is helped along by the feeling that the gag feels topical.
But it also helps that while appearing quite sly with certain digs, it has Marky Mark at the forefront slapping me round the face with his comic chops. I've never been the biggest fan of Wahlberg, however here, I found his display funnier than Farrells usual shtick. Wahlberg's angry little man-dances and vacant expression to me where a constant riot. His short man syndrome had me constantly cracking up. Farrell has his moments (the "gator" backstory is a tad overused but giggle worthy), but I found myself constantly wanting to see the wannabe macho Wahlberg flare up again.
But it's not just machismo and physical humor that had me going but was also smaller things in the direction and writing (I know, in a Will Farrell feature!). Mckay's constant digging at the the genre was a great source of humor to me. Example? Watch the over edited, green-screened beginning and compare it to the last set-piece that actually allows you to see the action. While it doesn't skewer the genre as well as Edgar Wright's forever watchable Hot Fuzz, there are moments in The Other Guy that show it has its head in the right direction.
It's not all great. The film runs out of stream in the last third, and like many Farrell films; if you don't know the obscure pop culture references then you can be left stranded. It's also coming apparent that Farrell's exposure since Anchorman has been so high that his appeal is starting to wane. But still, the rhythm of the randomness hits that sweet spot more often than not, while the supporting players are not only game but use their time to shine well. Add an Angry Wahlberg and some pot shots at the genre that hit hard than Kevin Smith's plodding Cop Out and you got yourself a good giggle.
Friday, 17 September 2010
Review: Devil
Year: 2010
Director: John Erick Dowdle
Screenplay: Brian Nelson
Starring: Chris Messina, Logan Marshall-Green, Jenny O'Hara, Bokeem Woodbine, Geoffrey Arend
Synopsis is here
To say that M Night Shyamalan's recent releases have not been critical darlings is a tiny bit of an understatement. Have a quick root around Rotten Tomatoes, Metacritic or IMDB and you will see The Last Airbender obtaining some of the worst reviews of not only of the year, of the man's whole career. It's getting tough for the man who was in consideration to become the so-called "next Spielberg". Things have gotten so awkward that Universal removed the filmmakers name off his producer credited film; Devil. To make matter worse, Devil has not had advance screenings to critics. The interesting thing I find about this is, that while many yell that critics mean nothing to anyone, they obviously have enough of a voice to make it seem to a studio that it's squeaky bum time.
I don't see why the studio were so worried, as it seems that M Night has finally done what many have hoped for: Come up with the idea and let other people set about the writing and directing of it. Devil has Shyamalan well ingrained into it's DNA, however by placing someone in those seats that M Night loves keeping warm, what we get is a neat, nicely paced morality tale which while flawed, still manages to be an enjoyable waste of 80 minutes.
It's important to note the films running time as it is the trimming of the fat that has been sorely missing from M Night's films. Features like The Village and The Happening, spent too much time padding out their thin narrative with portentous posturing. Constantly pretending that they were better than their twilight zone plots. Devil wastes no time in trying to raise it's head above it's B movie trappings and is all the better for it. The film is well paced and feels more focused on it's characters and the situation at hand. It helps that the writer (Brian Nelson) and Director (John Erick Dowdle) are known more for their genre filmmaking more than anything. It helps here, with the two managing to create a sufficient amount of tension and unease throughout.
This is not to say that the film hasn't got it's flaws. There is no need for the films naive narration, which like The Last Airbender, points out the obvious to the audience despite the fact that the viewers can clearly see what's happening/about to happen. Also, one of the things that M Night can do well is make sure that the actors have a certain amount of restraint in their acting. I understand that what we have is B-movie, genre territory, but by not reigning in some of the performances, the acting suffers slightly.
However with this said it is in no way bad enough to make me dislike the film in it's entirety. Like Signs, the films main theme is faith and how we respond to it in the modern world. The film handles this well and like signs, it's executed in a way that helped me forgive some of the flaws I had with the film, although someone could have turned down the bombastic musical cues.
Devil ran at a tight pace, had enough mystery to have me doubt the outcome (although I did stick to my original guess and was correct.) and ending on a wonderfully satisfying and hopeful note that really threw me. There's some interesting visuals (for a film mostly set in a lift) and all in all I left the cinema relatively happy. Then I stuck my headphones in and forgot about it. That's the problem with junk food cinema, it never lasts.
Director: John Erick Dowdle
Screenplay: Brian Nelson
Starring: Chris Messina, Logan Marshall-Green, Jenny O'Hara, Bokeem Woodbine, Geoffrey Arend
Synopsis is here
To say that M Night Shyamalan's recent releases have not been critical darlings is a tiny bit of an understatement. Have a quick root around Rotten Tomatoes, Metacritic or IMDB and you will see The Last Airbender obtaining some of the worst reviews of not only of the year, of the man's whole career. It's getting tough for the man who was in consideration to become the so-called "next Spielberg". Things have gotten so awkward that Universal removed the filmmakers name off his producer credited film; Devil. To make matter worse, Devil has not had advance screenings to critics. The interesting thing I find about this is, that while many yell that critics mean nothing to anyone, they obviously have enough of a voice to make it seem to a studio that it's squeaky bum time.
I don't see why the studio were so worried, as it seems that M Night has finally done what many have hoped for: Come up with the idea and let other people set about the writing and directing of it. Devil has Shyamalan well ingrained into it's DNA, however by placing someone in those seats that M Night loves keeping warm, what we get is a neat, nicely paced morality tale which while flawed, still manages to be an enjoyable waste of 80 minutes.
It's important to note the films running time as it is the trimming of the fat that has been sorely missing from M Night's films. Features like The Village and The Happening, spent too much time padding out their thin narrative with portentous posturing. Constantly pretending that they were better than their twilight zone plots. Devil wastes no time in trying to raise it's head above it's B movie trappings and is all the better for it. The film is well paced and feels more focused on it's characters and the situation at hand. It helps that the writer (Brian Nelson) and Director (John Erick Dowdle) are known more for their genre filmmaking more than anything. It helps here, with the two managing to create a sufficient amount of tension and unease throughout.
This is not to say that the film hasn't got it's flaws. There is no need for the films naive narration, which like The Last Airbender, points out the obvious to the audience despite the fact that the viewers can clearly see what's happening/about to happen. Also, one of the things that M Night can do well is make sure that the actors have a certain amount of restraint in their acting. I understand that what we have is B-movie, genre territory, but by not reigning in some of the performances, the acting suffers slightly.
However with this said it is in no way bad enough to make me dislike the film in it's entirety. Like Signs, the films main theme is faith and how we respond to it in the modern world. The film handles this well and like signs, it's executed in a way that helped me forgive some of the flaws I had with the film, although someone could have turned down the bombastic musical cues.
Devil ran at a tight pace, had enough mystery to have me doubt the outcome (although I did stick to my original guess and was correct.) and ending on a wonderfully satisfying and hopeful note that really threw me. There's some interesting visuals (for a film mostly set in a lift) and all in all I left the cinema relatively happy. Then I stuck my headphones in and forgot about it. That's the problem with junk food cinema, it never lasts.
Subscribe to:
Posts (Atom)