Showing posts with label Source Code. Show all posts
Showing posts with label Source Code. Show all posts
Saturday, 6 December 2014
Review: Edge of Tomorrow (A.K.A LIVE DIE REPEAT, A.K.A All You Need is Kill)
Year: 2014
Director: Doug Liman
Screenplay: Christopher McQuarrie, Jez Butterworth, John-Henry Butterworth
Starring: Tom Cruise, Emily Blunt, Bill Paxton
Synopsis is here:
Despite seemingly being marketed by a group of drunks recovering from a 7 day bender (why all the name changes, guys?), and the profit margins being more delicate than a Sony studio password, Edge of Tomorrow is a relatively fun sci-fi actioner. One that reminds you that Tom Cruise (aged 52), is still the engaging A-list movie star he was before we found out about his great battle with thetans. Hell, I'm beginning to think his belief in Scientology is part of the reason he's been able to pick interesting sci-fi projects. I wouldn't be surprised if the presence of Cruise may have switched people off Edge of Tomorrow. Yet Cruise's personal charm is one of the reasons the film works. The other (greater) reason is Emily Blunt.
Blunt, whose Rita character shows the type of urgency which has been greatly missed from female roles in the likes of Godzilla or The Amazing Spiderman 2, once again displays her amazing capability to bounce off her Male counterparts. The reversal of roles here allows Blunt to blossom even more so than she did in similar high concept features such as The Adjustment Bureau (2011), however the nature of Edge of Tomorrow's material seemingly gives a lot of the emotional resonance back to Cruise in his role of cowardly PR man cum action solider.
I do wonder what the late Roger Ebert would have felt about Edge of Tomorrow. As a critic whose interest in video games was in the minus figures, he would have been faced with a film that is heavily drenched in video game aesthetic. The source material (A Japanese novel by Hiroshi Sakurazaka) is said to have borrowed heavily of the play, die, and continue aspect of video games, as does this film. Here, I found it hard not to think I was not still playing COD: Advanced Warfare as even though neither game, nor film were looking over each other's solider, the similarities in the battle suits I found quite remarkable. The film's play on the concept of "spawning" and repeating until you get it right, isn't that original (see Source Code (2011), Looper (2012), SO many classic sci-fi stories), however Liman's storytelling direction of the material is refreshing. Edge of Tomorrow never feels like the template blockbusters the comic book films are starting to feel like, while it's commentary on how this muscle memory element impacts the protagonist has a certain perceptiveness to it.
Doug Liman is in his element here. Jumper (2008) is a mere faded memory here as the punchy action sequences carry weight while the cast interplay hold a playful blockbuster chemistry that enjoyable to watch. Edge of Tomorrow may not shoehorn itself into the classic hall of Hollywood blockbusters, its good fun but nothing too out of the ordinary. However, as a piece of light sci-fi action fare, I found it a film that deserves to find a good home audience in the future. Here's hoping the replay value goes past the high concept.
Tuesday, 23 October 2012
Review: Looper
Year: 2012
Director: Rian Johnson
Screenplay: Rian Johnson
Starring: Bruce Willis, Joseph Gordon Levitt, Emily Blunt, Jeff Daniels
Synopsis is here:
I've more than enjoyed the films of Rian Johnson in the past but always felt in the back of my mind, that he was a filmmaker who was very quick to show that he has smarts. Brick had its Filmore-equse high school noir plot and jargon, The Brothers Bloom was a breezy heist movie that almost felt too light on the con itself and that may have over done the quirk. To say his movies have limited appeal is incorrect, however, as much as I've taken pleasure from Johnson's movies, I've not been surprised that the fan base has been quite niche.
Looper is Johnson's most pleasurable film, and its interesting that it takes the twists and turns of sci-fi and time travel to supply his most emotionally satisfying tale. The film holds a clear understanding of genre, a well constructed world and a hearty grip of the mechanics. Johnson toys with the dynamic, but not enough to distance, and not lightly enough to make it feel gimmicky. All the elements of the story are utilised and it's focus on character create a thrilling and surprisingly affecting update to La jetee and 12 monkeys. Those who want all the detailed minutia to play out can watch Primer. Looper is more likened to Source Code, in that everything is built well enough to wrap the viewer up into the pace and bluster of it all.
Johnson still keeps his brow raised slightly, using a constant ticking clock motif and cyclical nature of the sci-fi at hand to create an engrossing backdrop that contrasts the three main character motivations. We have a young buck preoccupied by only his future goals, a hardened old man, blinded by the pain of his past and a juvenile right at the tipping point of his life. Johnson strategically plays these characters against age old themes of sacrifice and the ideal that our actions may help a greater good in deeper ways that we even know.
Bruce Willis is not at all new to what's playing out (see 12 Monkeys) and gives that that credible world weariness that we now know him for. Joseph Gordon Levitt has a more burdensome role, having to play a more intolarent version of the same character and as well as mimic Willis from a physical preceptive. He doesn't fully look the part but there're moments in which Levitt is doing more than an effective impression. Emily Blunt is the emotional anchor of the film and puts in a bankable performance, although elements of her relationship with Levitt could have been stronger on the screen. Piper Perabo, Paul Dano and Jeff Daniels provide solid support.
The film stumbles in it's middle act. We have quite a few characters and suddenly lumped with more background to get through and this all effects the main charge of it all. However, the film get itself in gear for a very impactful climax, which balances the scale of the implications with what we've learnt from the character during the story. Johnson's film has a great time travel hook,and a solidly believable world to place it in (I love the eye drop drugs and solar car ideas) but what makes Looper such an enjoyable watch is that Johnson keeps an eye on the human element, something that good sci-fi should nearly always do.
Director: Rian Johnson
Screenplay: Rian Johnson
Starring: Bruce Willis, Joseph Gordon Levitt, Emily Blunt, Jeff Daniels
Synopsis is here:
I've more than enjoyed the films of Rian Johnson in the past but always felt in the back of my mind, that he was a filmmaker who was very quick to show that he has smarts. Brick had its Filmore-equse high school noir plot and jargon, The Brothers Bloom was a breezy heist movie that almost felt too light on the con itself and that may have over done the quirk. To say his movies have limited appeal is incorrect, however, as much as I've taken pleasure from Johnson's movies, I've not been surprised that the fan base has been quite niche.
Looper is Johnson's most pleasurable film, and its interesting that it takes the twists and turns of sci-fi and time travel to supply his most emotionally satisfying tale. The film holds a clear understanding of genre, a well constructed world and a hearty grip of the mechanics. Johnson toys with the dynamic, but not enough to distance, and not lightly enough to make it feel gimmicky. All the elements of the story are utilised and it's focus on character create a thrilling and surprisingly affecting update to La jetee and 12 monkeys. Those who want all the detailed minutia to play out can watch Primer. Looper is more likened to Source Code, in that everything is built well enough to wrap the viewer up into the pace and bluster of it all.
Johnson still keeps his brow raised slightly, using a constant ticking clock motif and cyclical nature of the sci-fi at hand to create an engrossing backdrop that contrasts the three main character motivations. We have a young buck preoccupied by only his future goals, a hardened old man, blinded by the pain of his past and a juvenile right at the tipping point of his life. Johnson strategically plays these characters against age old themes of sacrifice and the ideal that our actions may help a greater good in deeper ways that we even know.
Bruce Willis is not at all new to what's playing out (see 12 Monkeys) and gives that that credible world weariness that we now know him for. Joseph Gordon Levitt has a more burdensome role, having to play a more intolarent version of the same character and as well as mimic Willis from a physical preceptive. He doesn't fully look the part but there're moments in which Levitt is doing more than an effective impression. Emily Blunt is the emotional anchor of the film and puts in a bankable performance, although elements of her relationship with Levitt could have been stronger on the screen. Piper Perabo, Paul Dano and Jeff Daniels provide solid support.
The film stumbles in it's middle act. We have quite a few characters and suddenly lumped with more background to get through and this all effects the main charge of it all. However, the film get itself in gear for a very impactful climax, which balances the scale of the implications with what we've learnt from the character during the story. Johnson's film has a great time travel hook,and a solidly believable world to place it in (I love the eye drop drugs and solar car ideas) but what makes Looper such an enjoyable watch is that Johnson keeps an eye on the human element, something that good sci-fi should nearly always do.
Sunday, 3 April 2011
Review: Source Code
Year: 2011
Director: Duncan Jones
Screenplay: Ben Ripley
Starring: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffery Wright
Synopsis is here
Roger Ebert's review on Source Code states that the science within the film is preposterous. I don't disagree in the slightest. I dare all the budding Brian Cox's to try and get their head around it. Like Indiana Jones taking more liberties than time team would like to acknowledge, Source Code plays fast and loose with quantum physics with the clear knowledge that most of the audience will not be experts. This provides issues with the film particularly near the end which could leave people scratching their head and not in that musing, good way. However, the key to the film is conviction. There's something about Chris Bacon's lively and Hitchcockain score, Jeffery Wright's amusingly crotchety but forceful scientist and the whole explanation of the situation at hand that makes the unbelievable viable.
Checked the synopsis? Well yes the film does give illusion to Groundhog Day, however it's obvious from the films science and sly voice cameo that Jones is more interested in Quantum Leap than Bill Murray. The film also touches on themes that were nicely established in Jones' first feature Moon. The cyclical nature of the hero's journey and the wish to break from it, that the sacrifice of one benefits the many and the difficult relationship between employers and employees when one has found a way to take advantage of the other. Jones complies these themes well and tells it in a story that feels remarkably fresh. There's enough in the film to entertain throughout.
But we shouldn't give Jones all the credit. The direction of the pace of the material as well as the flow of information is well handled. However, much has to be said about Ben Ripley's screenplay which is constantly involving from many angles. We're not only interested in the idea of Source Code, but also the plight of the solider. How the hell did he get into such a position? Now that he's there; will he ever escape it? There's a love story forming within the film, with the knowledge that we now, how can it survive? The combination of Ripley's questions and Jones' energy put the stakes right into the forefront. Once we get more information on the situation (the twists drop in at just the right moments) there is the question on if it feeling slightly futile. However, the drive of the character and their right to be allowed to do what they wish (sorry if this sounds vague, trying to not lay the plot bare) is what keeps the risk alive and the film entertaining as a whole.
The acting here is solid. Nothing groundbreaking by any accounts but all good turns from likable actors. Jake Gyllenhaal and Michelle Monaghan have a cute chemistry and bounce well off each other. Vera Farmiga's performance is a little bland. However, considering the part is merely a holding one, she does what is expected.
Source Code is a film which is full of fridge logic, however, like Limitless and the Adjustment Bureau before it, there's more than enough humanity and conviction in it's execution to enjoy what's on screen. I liked these people, was genuinely surprised with how they dealt with their situation at times and felt thoroughly satisfied (although a tad perplexed) with the outcome. Like a few recent films, the films final codec feels a little tacked on try and keep everyone sweet. However, when it's all said and done; Source Code is a enjoyable, sometimes thoughtful companion piece to Jones' first feature.
Director: Duncan Jones
Screenplay: Ben Ripley
Starring: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffery Wright
Synopsis is here
Roger Ebert's review on Source Code states that the science within the film is preposterous. I don't disagree in the slightest. I dare all the budding Brian Cox's to try and get their head around it. Like Indiana Jones taking more liberties than time team would like to acknowledge, Source Code plays fast and loose with quantum physics with the clear knowledge that most of the audience will not be experts. This provides issues with the film particularly near the end which could leave people scratching their head and not in that musing, good way. However, the key to the film is conviction. There's something about Chris Bacon's lively and Hitchcockain score, Jeffery Wright's amusingly crotchety but forceful scientist and the whole explanation of the situation at hand that makes the unbelievable viable.
Checked the synopsis? Well yes the film does give illusion to Groundhog Day, however it's obvious from the films science and sly voice cameo that Jones is more interested in Quantum Leap than Bill Murray. The film also touches on themes that were nicely established in Jones' first feature Moon. The cyclical nature of the hero's journey and the wish to break from it, that the sacrifice of one benefits the many and the difficult relationship between employers and employees when one has found a way to take advantage of the other. Jones complies these themes well and tells it in a story that feels remarkably fresh. There's enough in the film to entertain throughout.
But we shouldn't give Jones all the credit. The direction of the pace of the material as well as the flow of information is well handled. However, much has to be said about Ben Ripley's screenplay which is constantly involving from many angles. We're not only interested in the idea of Source Code, but also the plight of the solider. How the hell did he get into such a position? Now that he's there; will he ever escape it? There's a love story forming within the film, with the knowledge that we now, how can it survive? The combination of Ripley's questions and Jones' energy put the stakes right into the forefront. Once we get more information on the situation (the twists drop in at just the right moments) there is the question on if it feeling slightly futile. However, the drive of the character and their right to be allowed to do what they wish (sorry if this sounds vague, trying to not lay the plot bare) is what keeps the risk alive and the film entertaining as a whole.
The acting here is solid. Nothing groundbreaking by any accounts but all good turns from likable actors. Jake Gyllenhaal and Michelle Monaghan have a cute chemistry and bounce well off each other. Vera Farmiga's performance is a little bland. However, considering the part is merely a holding one, she does what is expected.
Source Code is a film which is full of fridge logic, however, like Limitless and the Adjustment Bureau before it, there's more than enough humanity and conviction in it's execution to enjoy what's on screen. I liked these people, was genuinely surprised with how they dealt with their situation at times and felt thoroughly satisfied (although a tad perplexed) with the outcome. Like a few recent films, the films final codec feels a little tacked on try and keep everyone sweet. However, when it's all said and done; Source Code is a enjoyable, sometimes thoughtful companion piece to Jones' first feature.
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