Year: 2012
Director: Pete Travis
Screenplay: Alex Garland
Starring: Karl Urban, Olivia Thirlby, Lena Headey
Synopsis is here:
I didn't expect to enjoy Dredd as much as I did. In fact I didn't expect me to as much delight out of it more than the new John Hillcoat film, Lawless, which I checked out the same day. But in terms of base sensory pleasure; Dredd's clear-cut, no nonsense vibe just brought more satisfaction to the palette. I'm not a Dredd fan by any real means (I could count the amount of 2000AD comics I'd read on two hands) but I always felt that a comic like Dredd needed the right kind of adaptation if it had to be a movie.
Danny Cannon's 1995 take on Dredd, reeks of the kind of studio changes that comic book fans despise. "Hey lets have Rob Schneider as a comedy sidekick!" "You know what Dredd needs? A Love interest!" "Why don't we ever see Dredd's face? Change it!" The result was a very uninspired blockbuster which doesn't illustrate the strengths of it's director (See 1993's The Young Americans or 1998's Phoenix) and isn't too far removed from Sylvester Stallone's 1993 hit Demolition Man in terms of tone.
The retread of Dredd (despite it's production issues), delightfully eschews that an anti-hero like Dredd should be given such a broad Hollywood treatment. The film seems to understand the dystopian world-view of the comics a hell of a lot more the last outing. Mega-City 1; we are told, is a meat grinder and the film expresses this within the environment perfectly. This is a world where life isn't worth the grit off the floor. The air reeks of disorder and the presence of the judges is almost meaningless due to the overcrowded population and rampant crime. The film begins with a high octane vehicle chase on a busy urban highway. When we first see Dredd, we get the feeling that this is merely just another day. We sense this, despite only seeing Karl Urban's wasp chewing mouth. Despite the dark and dingy tone, this is where the satire of the comic lies. When death is doled out so easily and casually, you need a radical right-wing judgement system to help thin out the numbers just a little more.
With such a system in place, you expect a lot of gun play, and Dredd has more than enough to spare. The action isn't the best I've seen this year, that goes to the likes of the similarly structured The Raid, but the films set pieces are more than effective in relation to it pulpy story. Even the liberal use of slow motion comes off as more than just a gimmicky after thought, and shows itself as a properly realised idea to help bring the vision across. The film also deserves its 18 rating as the guts and gore flow freely.
But the visceral impact of the violence is bolstered by the films economical storytelling. What we see has more impact because the efficient use of it's story. As I mentioned before, the film has similar elements to The Raid. However, Dredd's more polished use of character and plot line gives us more grip on the world at play.
It also helps that Dredd's secret weapon, lies in one of it's secondary characters. Olivia Thirlby as psychic rookie Judge Anderson, provides the moral lifting of the film. Thirlby is the perfect compassionate foil for the black and white, down the line viewpoint of Urban's Dredd. Urban is also impressive, acting with only his chin for the most part, his Clint Eastwood impersonation is reminiscent of Dirty Harry, which is of course an influence on the original comic. Urban's lesser known profile also helps get around the problem the first film had, having to balance the fact it had a bonafide action superstar to contend with (See also The Expendables). Lena Headey brings up the rear, with a formidable villain in Ma-ma. A role that could have easily been filled by an OTT character actor display. Headey brings menace with a more subdued display. Managing to command hundreds with merely a nod or a glance.
Dredd retains the pulpy roots of it's comic books, and provides 95 minutes of competent, straight edged, B-movie thrills with little of the meandering and pandering that has hampered some of the larger action films of the year. It's what I got out of it; and hopefully, the fans get that to.
Showing posts with label The Raid: Redemption. Show all posts
Showing posts with label The Raid: Redemption. Show all posts
Saturday, 15 September 2012
Friday, 17 August 2012
Review: The Expendables 2
Year: 2012
Director: Simon West
Screenplay: Richard Wenk and Sylvester Stallone
Starring: Sylvester Stallone, Jason Statham, Jet Li, Dolph Lundgren, Chuck Norris, Randy Couture, Terry Crews, Liam Hemsworth, Jean-Claude Van Damme, Bruce Willis, Arnold Schwarzenegger, Nan Yu
Synopsis is here
NOTE: I go into some spoiler territory here, but if you turn up to this for the plot, you surprise even me.
In a brave new post modern world; where action heroes are now more likely to be character actors (Bale, Damon, Downley Jr et all), The Expendables came across as a distressing plea for relevance at the hands of it's director and lead, Sylvester Stallone. Rambo himself may have jogged audience members memories to remember heap of near forgotten action stars. However, the misty eyed nostalgia of seeing these screen heroes was quickly obscured by the real reason for the films existence: ego fuel.
Sly's film was less about showing the young pretenders how it's done and more about exclaiming that he was till around. Drunk of the response of Rocky Balboa and Rambo, The Expendables' constant extreme close ups of an elderly Stallone mumbling naff gags was unfortunately more memorable than the hastily hacked action.
Empire writer Helen O'Hara rightfully lambasted the net nerds and lugheads on twitter by quoting the following:
That said, The Expendables 2 will probably quench the thirst of those who lust for the wrinkly muscle of it's meat headed cast. The film starts out with a set piece that could have easily been the climax of any other action movie. As oddly composited the sequence is (considering the film, and the money put in place, it doesn't look great) this sequel clearly wishes to expand on what came before. Bullets fire, bones crack and faceless soldiers of a far away country are set on fire. Director Simon West sorts out some of the geography of the on screen action although still it feels like characters drop in and out with no real sense of place or time.
It is good that a director like West has taken over directing duties from Stallone. The film is a little more assured of itself this time round. The film trundles along at a decent enough pace and hits it's action beats better than it's predecessor. Most of the dialogue and gags are still pretty awful, but Stallone and his band of writers at least feel a bit more accurate with the ironic aspect of the franchise. I've got to believe that the confusing and cliched monologue that Liam Hemsworth spouts is for the "lolz" because his character goes so far past tongue in cheek that it skips past sad and ends up right back where it came from. Honestly, the moment Hemsworth utters his first line of dialogue, his trajectory becomes more than a little predictable.
But then that's what films like this are about. Stating the obvious and things that go boom. Things don't have to make sense as long as a famous action start pops up from nowhere, makes a pop culture reference to themselves and shoots a gun. There is little to no reason for Chuck Norris within this movie, other than to mention a Chuck Norris joke from the internet and distract you from the fact that Jet Li was only in the first 10 mins of the the movie.
It's not completely tragic. I really enjoyed the casting of Jean Claude Van Damme, who milks his villainous character for as much as he can get, while there's no denying that there's a certain chemistry between Stallone and chums, although it still feels like him Bruce and Arnie didn't shoot their scenes together. The inclusion of Nan Yu as an intelligent (for this kind of movie) female character also means well. Unlike a Micheal Bay movie, Yu doesn't feel as sexualised as so many Hollywood startlets, and yet remains attractive in her own right.
For all it's obviousness, The Expendables 2 does at times strive for something earnest. One "dramatic" moment has Sly's Barney Ross lament at why some are chosen to die, while others do not. The scene is badly played out (almost laughable) and yet touches on something I wished both this and the original film leaned on more. However, it's not meant to be. The Expendabless 2 stayed in my memories longer than the first film, but still faded quicker than watery mist on a hot July day. That negative response may have more grown men weeping and raging, but at least they'll have the large arms of The Expendables to keep them safe.
Director: Simon West
Screenplay: Richard Wenk and Sylvester Stallone
Starring: Sylvester Stallone, Jason Statham, Jet Li, Dolph Lundgren, Chuck Norris, Randy Couture, Terry Crews, Liam Hemsworth, Jean-Claude Van Damme, Bruce Willis, Arnold Schwarzenegger, Nan Yu
Synopsis is here
NOTE: I go into some spoiler territory here, but if you turn up to this for the plot, you surprise even me.
In a brave new post modern world; where action heroes are now more likely to be character actors (Bale, Damon, Downley Jr et all), The Expendables came across as a distressing plea for relevance at the hands of it's director and lead, Sylvester Stallone. Rambo himself may have jogged audience members memories to remember heap of near forgotten action stars. However, the misty eyed nostalgia of seeing these screen heroes was quickly obscured by the real reason for the films existence: ego fuel.
Sly's film was less about showing the young pretenders how it's done and more about exclaiming that he was till around. Drunk of the response of Rocky Balboa and Rambo, The Expendables' constant extreme close ups of an elderly Stallone mumbling naff gags was unfortunately more memorable than the hastily hacked action.
Empire writer Helen O'Hara rightfully lambasted the net nerds and lugheads on twitter by quoting the following:
"It's ironic, a movie that wears masculinity like a badge has fans who read 1 bad review & cry like little girls"I couldn't agree more. The Expendables is less about delivering a decent action feature as opposed to stroking the egos of those who star in it. Stallone, Arnie and Willis have all make their mark in action films that were way more effective in story and set pieces. High pitched screeches of how "old school" it is, can ring from here to Albuquerque. The whining falls on deaf ears when the likes of films like The Raid are only a rental away. That film also has issues, but when it comes to action, the scenes put forth could be watched over and over.
That said, The Expendables 2 will probably quench the thirst of those who lust for the wrinkly muscle of it's meat headed cast. The film starts out with a set piece that could have easily been the climax of any other action movie. As oddly composited the sequence is (considering the film, and the money put in place, it doesn't look great) this sequel clearly wishes to expand on what came before. Bullets fire, bones crack and faceless soldiers of a far away country are set on fire. Director Simon West sorts out some of the geography of the on screen action although still it feels like characters drop in and out with no real sense of place or time.
It is good that a director like West has taken over directing duties from Stallone. The film is a little more assured of itself this time round. The film trundles along at a decent enough pace and hits it's action beats better than it's predecessor. Most of the dialogue and gags are still pretty awful, but Stallone and his band of writers at least feel a bit more accurate with the ironic aspect of the franchise. I've got to believe that the confusing and cliched monologue that Liam Hemsworth spouts is for the "lolz" because his character goes so far past tongue in cheek that it skips past sad and ends up right back where it came from. Honestly, the moment Hemsworth utters his first line of dialogue, his trajectory becomes more than a little predictable.
But then that's what films like this are about. Stating the obvious and things that go boom. Things don't have to make sense as long as a famous action start pops up from nowhere, makes a pop culture reference to themselves and shoots a gun. There is little to no reason for Chuck Norris within this movie, other than to mention a Chuck Norris joke from the internet and distract you from the fact that Jet Li was only in the first 10 mins of the the movie.
It's not completely tragic. I really enjoyed the casting of Jean Claude Van Damme, who milks his villainous character for as much as he can get, while there's no denying that there's a certain chemistry between Stallone and chums, although it still feels like him Bruce and Arnie didn't shoot their scenes together. The inclusion of Nan Yu as an intelligent (for this kind of movie) female character also means well. Unlike a Micheal Bay movie, Yu doesn't feel as sexualised as so many Hollywood startlets, and yet remains attractive in her own right.
For all it's obviousness, The Expendables 2 does at times strive for something earnest. One "dramatic" moment has Sly's Barney Ross lament at why some are chosen to die, while others do not. The scene is badly played out (almost laughable) and yet touches on something I wished both this and the original film leaned on more. However, it's not meant to be. The Expendabless 2 stayed in my memories longer than the first film, but still faded quicker than watery mist on a hot July day. That negative response may have more grown men weeping and raging, but at least they'll have the large arms of The Expendables to keep them safe.
Sunday, 27 May 2012
Review: The Raid
Year: 2011
Director: Gareth Evans
Screenplay: Gareth Evans
Starring: Iko Uwais, Ananda George, Ray Sahetapy
Synopsis is here:
You can write the premise on a napkin. A SWAT infiltrate a dug lords apartment building only for the tables to be turned on them. It was never about them getting in, it was always about them getting out. The conceit is simplicity itself and one of the reason I feel an action film like The Raid will gain many fans on DVD Theatrically, the U.K numbers haven't appeared on Box Office Mojo, however, the fact that once again I was in a screen by myself speaks volumes (mainly that I work odd shift hours).
The Raid is exactly what I expect from a movie of it's ilk. The kind of film that get's Roger Eberts back up. It's violence incarnate and completely unapologetic with it. Gareth Evans' film is a ballet of broken bones with a tremendous amount of twisted limbs and large bouts of bloodshed.
It's also suffers from below average characterisation and a humdrum story. I'm sincerely disappointed that the films dialogue and plot are not up to the level of the carnage. Such thoughts will piss off the hardcore fans of such a genre, however brutality aside, I have to say I found myself lamenting that The Raid didn't push the bar further. Haywire's lead actress wasn't the strongest, but such the female dynamic made it stand out (see also Hanna). The dialogue is one note while most of the films twists are pretty transparent. Don't expect anyone of the actors to be the next Lawrence Olivier.
And yet, this does nothing to distract from the films ability to startle with it's action. The film showcases the traditional Indonesian martial art Pencak Silat. It is a fight style that I've never experienced before, and one that I enjoyed indulging in. Evans use of geography throughout the film is sublime. The labrinth-like corriders are filled with doors that are quick to burst open with assailants, while the fights themselves are quite remarkable given the limited space available within the rooms. The Raid is quick to remind you that the environment is a character as well.
Is is however, unfortunate that compared to the likes of older (early John Woo) or more modern (A Bittersweet Life) far eastern classics we are not given a character whose as interesting to follow during the "talkie" moments. It's true that we go to the raid for the chop socky action. However, when compared to the likes of Chow Yun Fat or Bruce Lee, the film falters as the lead actor Iko Uwais just doesn't have the presence. While the only way other characters get to bounce off him is by throwing their fists at him. The dances of death throughout are exhilarating, the charisma that flowed through the films it's influenced by however is missing.
The Raid is a six-pack film, which features moves that allows you to marvel at some brilliantly executed set pieces while you swill some watered wheat and hops around your chops. Films like this always make you double take what you just saw and remind me just how regulated the American film industry is in terms of health, safety and insurance. I'll be interested to see just how Hollywood manage some of the stunts on show, in their soon to be filmed remake. I'd be even more surprised if that film manages to bolster the thinly spread plot and characters at play.
Director: Gareth Evans
Screenplay: Gareth Evans
Starring: Iko Uwais, Ananda George, Ray Sahetapy
Synopsis is here:
You can write the premise on a napkin. A SWAT infiltrate a dug lords apartment building only for the tables to be turned on them. It was never about them getting in, it was always about them getting out. The conceit is simplicity itself and one of the reason I feel an action film like The Raid will gain many fans on DVD Theatrically, the U.K numbers haven't appeared on Box Office Mojo, however, the fact that once again I was in a screen by myself speaks volumes (mainly that I work odd shift hours).
The Raid is exactly what I expect from a movie of it's ilk. The kind of film that get's Roger Eberts back up. It's violence incarnate and completely unapologetic with it. Gareth Evans' film is a ballet of broken bones with a tremendous amount of twisted limbs and large bouts of bloodshed.
It's also suffers from below average characterisation and a humdrum story. I'm sincerely disappointed that the films dialogue and plot are not up to the level of the carnage. Such thoughts will piss off the hardcore fans of such a genre, however brutality aside, I have to say I found myself lamenting that The Raid didn't push the bar further. Haywire's lead actress wasn't the strongest, but such the female dynamic made it stand out (see also Hanna). The dialogue is one note while most of the films twists are pretty transparent. Don't expect anyone of the actors to be the next Lawrence Olivier.
And yet, this does nothing to distract from the films ability to startle with it's action. The film showcases the traditional Indonesian martial art Pencak Silat. It is a fight style that I've never experienced before, and one that I enjoyed indulging in. Evans use of geography throughout the film is sublime. The labrinth-like corriders are filled with doors that are quick to burst open with assailants, while the fights themselves are quite remarkable given the limited space available within the rooms. The Raid is quick to remind you that the environment is a character as well.
Is is however, unfortunate that compared to the likes of older (early John Woo) or more modern (A Bittersweet Life) far eastern classics we are not given a character whose as interesting to follow during the "talkie" moments. It's true that we go to the raid for the chop socky action. However, when compared to the likes of Chow Yun Fat or Bruce Lee, the film falters as the lead actor Iko Uwais just doesn't have the presence. While the only way other characters get to bounce off him is by throwing their fists at him. The dances of death throughout are exhilarating, the charisma that flowed through the films it's influenced by however is missing.
The Raid is a six-pack film, which features moves that allows you to marvel at some brilliantly executed set pieces while you swill some watered wheat and hops around your chops. Films like this always make you double take what you just saw and remind me just how regulated the American film industry is in terms of health, safety and insurance. I'll be interested to see just how Hollywood manage some of the stunts on show, in their soon to be filmed remake. I'd be even more surprised if that film manages to bolster the thinly spread plot and characters at play.
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