Year: 2009 (2010 UK release)
Director: Derrick Borte
Screenplay: Derrick Borte
Starring: David Duchovny, Demi Moore, Amber Heard, Ben Hollingworth, Gary Cole
Synopsis is here
NOTE: This review may give away a touch of the films "twist", HOWEVER, the trailer alone gives away much of the film so it might not be that much of a surprise.
Bit of a surprise for me this one. The trailer was pretty unassuming, the leads haven't been seen in any recent movie of note, I had never heard of the director and I felt I knew too much about the movie before I went into it. Bad Times.
Not so however, as The Joneses was quite an interesting watch despite the movie slightly losing it's nerve near the end. It's not angry film, but it's shot with enough cynicism to feel quite squirmy at times. Borte (an advertising man, so I've read) has eye for the subject matter and he quickly sets up the cloak of smoke and mirrors with well placed shots of characters in front of mirrors. Nothing too subtle, but it sets the mind working and helps push the ideas through.
As an veiled attack on marketing, at times the Joneses does quite well. As we settle into the idea of the plastic family, one slowly begins to wonder how easy this could be to be placed into practice and how easily lead we would be to such a design. Borte's scenes at times are both quietly droll and unsettling at the same time. The focus on the teens worked best with me, with both teenagers being beyond good looking (one of them the ridiculously hot Amber Heard). The scenes quickly set these characters up as popular and then trendsetters, and have a touch of realism about it, mostly because the teens being targeted at just right to be plucked and a quick smile and chat could easily have them gasping for what these guys want. With this said there's a nice battle set up between the lead character Steve (Duchovny) and Larry (very watchable Gary Cole) leads to a climax that is (once again) not subtle but still very timely and hits the nail on the head.
There are issues however, with the film, such as the movies product placement, which is pushed to the forefront due to the films story. Problem is of course it also serves as nice set up for whatever the brand is that is lucky enough to be placed in the forefront. Awkward as that may sound considering the subject matter, it is not as not as bad as the films latter moments in which emotional response does battle with Hollywood cookie cutter film production. You get the feeling that the film could push this material all the way, however it recedes and plays the film safer than it should have, but then how far could the film push, considering the position it's put in.
With this said, the film's performances keep enough fuel in the tank, until the films last moments and the well picked choices of Demi Moore and David Duchovny are a refreshing change from the typical A list choices that could have been picked for this endeavor. Kudos also goes to Amber Heard, who clearly has a little teen wild child role. One low note would be Ben Hollingsworth, who becomes pretty anonymous when the film really comes to the crunch.
As a whole, The Joneses has it's moments and is more than playful enough with them. It had enough wit to keep me grinning and sharp enough to keep me involved and engaged. I'm sure my brain will push out this movie come next week when I get to see Iron Man 2, but until then The Joneses will remain an interesting watch with a nice concept.
Sunday, 25 April 2010
Friday, 23 April 2010
Review: Date Night
Year: 2010
Director: Shaun Levy
Screenplay: Josh Klausner
Starring: Steve Carell, Tina Fey
Synopsis is here
I HATE safe movies! Blegh, the worst thing about safe movies like this is the middling reviews I write for them after I've seen them. I deal with extremes; good or bad, that's how it works with me. Date night has decided to stick it's tongue out and sit in the middle, lounging between interesting and irritating. Some critics have said it's good, others have said otherwise and for me, the film gyrates between the two. Date Night is one of those unassuming movies that merely exists for it's opening weekend before (presumably) evaporating into the either. A date movie you can take in on a Friday night with someone before you can address more pressing matters like their place or yours.
Starring two of the biggest comic actors on television at the current time; Date Night believes that overusing Fey's and Carell's usual shtick will guarantee laughs throughout the whole movie. Not so. As much as I enjoy the two performers on display and I did laugh sporadically throughout the duration, there just wasn't enough material to make this thing a truly memorable comedy. While I was happy that this movie wasn't clearly targeted at the frat boy/man child audiences that many Steve Carell films appear to be aiming for, there's only so much of that Carell shouting-the-obvious-with-a-straight-face-thing I can take. Fey is a different creature altogether, a talented writer (30 Rock, Mean Girls) and a actress with great comic timing, it's a shame that her best moments are the ad-libbed outtakes during the credits. Fey here is muted somewhat and while she is still an amusing watch, you are constantly wondering what SHE would do with the material and not Josh Klausner (Sherk 3, 4).
However, what the two do have is Chemistry and while the material isn't their best, the relationship that is shared is believable and at times sweet. It's watchable enough to get you through some of the weaker jokes that the film spews up.
Although director Shaun Levy doesn't go mad with the visuals or story telling in any way, he does manage to put together some nice scenes that work well with Fey and Carell. The short scene with James Franco and Mila Kunis is silly little diversion, while the centerpiece of the film -a car chase involving conjoined cars, is more enjoyable than it should be. Also, despite some of the films more "cheesier" moments, Date Night feels at times that the film could be aimed towards a more "adult" audience. I say that last line hesitantly but honestly, this isn't anchorman and despite being silly, the idea of a marital couple stuck in routine isn't really subject matter for Anchorman fans. Date Night takes note of that and if it wasn't for some of the jokes, this could have easily been aimed at the "older" market.
It's this unevenness that really upsets Date Night. At times it's feels like it should be targeted towards the tired couples it mimics, but is filled with jokes that may be a tad immature for them. The lead couple are fun, but don't stretch themselves at any point, and despite some OK moments (with one or two laugh out loud jokes), this is a film that even fans of Fey and Carell could easily miss with not too much worry. Those looking for after hours action should go back to it.
Director: Shaun Levy
Screenplay: Josh Klausner
Starring: Steve Carell, Tina Fey
Synopsis is here
I HATE safe movies! Blegh, the worst thing about safe movies like this is the middling reviews I write for them after I've seen them. I deal with extremes; good or bad, that's how it works with me. Date night has decided to stick it's tongue out and sit in the middle, lounging between interesting and irritating. Some critics have said it's good, others have said otherwise and for me, the film gyrates between the two. Date Night is one of those unassuming movies that merely exists for it's opening weekend before (presumably) evaporating into the either. A date movie you can take in on a Friday night with someone before you can address more pressing matters like their place or yours.
Starring two of the biggest comic actors on television at the current time; Date Night believes that overusing Fey's and Carell's usual shtick will guarantee laughs throughout the whole movie. Not so. As much as I enjoy the two performers on display and I did laugh sporadically throughout the duration, there just wasn't enough material to make this thing a truly memorable comedy. While I was happy that this movie wasn't clearly targeted at the frat boy/man child audiences that many Steve Carell films appear to be aiming for, there's only so much of that Carell shouting-the-obvious-with-a-straight-face-thing I can take. Fey is a different creature altogether, a talented writer (30 Rock, Mean Girls) and a actress with great comic timing, it's a shame that her best moments are the ad-libbed outtakes during the credits. Fey here is muted somewhat and while she is still an amusing watch, you are constantly wondering what SHE would do with the material and not Josh Klausner (Sherk 3, 4).
However, what the two do have is Chemistry and while the material isn't their best, the relationship that is shared is believable and at times sweet. It's watchable enough to get you through some of the weaker jokes that the film spews up.
Although director Shaun Levy doesn't go mad with the visuals or story telling in any way, he does manage to put together some nice scenes that work well with Fey and Carell. The short scene with James Franco and Mila Kunis is silly little diversion, while the centerpiece of the film -a car chase involving conjoined cars, is more enjoyable than it should be. Also, despite some of the films more "cheesier" moments, Date Night feels at times that the film could be aimed towards a more "adult" audience. I say that last line hesitantly but honestly, this isn't anchorman and despite being silly, the idea of a marital couple stuck in routine isn't really subject matter for Anchorman fans. Date Night takes note of that and if it wasn't for some of the jokes, this could have easily been aimed at the "older" market.
It's this unevenness that really upsets Date Night. At times it's feels like it should be targeted towards the tired couples it mimics, but is filled with jokes that may be a tad immature for them. The lead couple are fun, but don't stretch themselves at any point, and despite some OK moments (with one or two laugh out loud jokes), this is a film that even fans of Fey and Carell could easily miss with not too much worry. Those looking for after hours action should go back to it.
Tuesday, 20 April 2010
Review: Micmacs
Year: 2009 (UK release 2010)
Director: Jean-Pierre Jeunet
Screenplay: Jean-Pierre Jeunet, Guillaume Laurant
Starring: Dany Boon, André Dussollier, Nicolas Marié, Julie Ferrier
Synopsis is here
The first few scenes at the beginning of Micmacs, not only tell us all we need to know about the our lead and his back story, but they are so cinematic in design that it does so without the need of dialogue. These early scenes don't waste a thing and like many of Jeunet's movies skews the viewpoint just enough that you know what sort of a ride your going to be in for. It's going to be oddball, it's going to be quirky and of course, way out of left field.
Tonally the film reminded me of Jeunet's Delicatessen, tittering over its dark territory (weapon manufacturing), and using humor to shed light on a subject that is usually reserved for more serious affair. This approach (much like his 1991 cult hit) works. Much like Delicatessen (which the film craftily makes a reference to); a dystopian feature about cannibalism features an amusing, rhythmic, bed squeaking scene that was nabbed by advertising very quickly (if I recall, i may be wrong). Micmac has scenes that maintain the same surreal nature. I tell you this may be the only film where an adopted group of homeless people with seemingly useless skills, band together in their scrapyard home to take on two weapon conglomerates. To add to this, they do it Ocean's 11 style. The simulates become apparent when we meet the very flexible contortionist played with an amusing amount of spunk by Julie Ferrier.
While I make silly comparisons to Steven Sodenbergh, it's clearly older films which get Jeunet going. The film loves to make neat little references to more silent features with most of the leads playing their roles with Keaton like dead pan, and of course the film is french so expect the obligatory Bogart moment.
The film's social commentary isn't as damming as possible but with this said the film doesn't want it to be. Also later on, when the film appears to want to make a massive point about the evils of these mercenaries, the film suddenly feels a little off, it's not what we signed up for. Fortunately Jeunet makes up for this very soon after.
What else to say about Micmacs? Well it is very funny, that's one thing. The movie has it's fair share of giggles, particularly with the actors playful performances. Even the love story within the plot has more smirk moments than your usual rom-com movie. The film is also gorgeous to look at. There some beautiful set design with our heroes scrapyard being a charming "palace" of clutter, with surroundings that wouldn't look too out of place if they shared a fence with the backyard of Terry Gilliam's head.
Micmac's has been out for a little while now and will probably disappear from theaters, soon be a rental for those who know of Jeunet's work or the slightly curious. To them I say go for it. To those who may not have heard of the guy or still have a severe Alien Resurrection hangover, I say the same thing. It just might be the cure.
Director: Jean-Pierre Jeunet
Screenplay: Jean-Pierre Jeunet, Guillaume Laurant
Starring: Dany Boon, André Dussollier, Nicolas Marié, Julie Ferrier
Synopsis is here
The first few scenes at the beginning of Micmacs, not only tell us all we need to know about the our lead and his back story, but they are so cinematic in design that it does so without the need of dialogue. These early scenes don't waste a thing and like many of Jeunet's movies skews the viewpoint just enough that you know what sort of a ride your going to be in for. It's going to be oddball, it's going to be quirky and of course, way out of left field.
Tonally the film reminded me of Jeunet's Delicatessen, tittering over its dark territory (weapon manufacturing), and using humor to shed light on a subject that is usually reserved for more serious affair. This approach (much like his 1991 cult hit) works. Much like Delicatessen (which the film craftily makes a reference to); a dystopian feature about cannibalism features an amusing, rhythmic, bed squeaking scene that was nabbed by advertising very quickly (if I recall, i may be wrong). Micmac has scenes that maintain the same surreal nature. I tell you this may be the only film where an adopted group of homeless people with seemingly useless skills, band together in their scrapyard home to take on two weapon conglomerates. To add to this, they do it Ocean's 11 style. The simulates become apparent when we meet the very flexible contortionist played with an amusing amount of spunk by Julie Ferrier.
While I make silly comparisons to Steven Sodenbergh, it's clearly older films which get Jeunet going. The film loves to make neat little references to more silent features with most of the leads playing their roles with Keaton like dead pan, and of course the film is french so expect the obligatory Bogart moment.
The film's social commentary isn't as damming as possible but with this said the film doesn't want it to be. Also later on, when the film appears to want to make a massive point about the evils of these mercenaries, the film suddenly feels a little off, it's not what we signed up for. Fortunately Jeunet makes up for this very soon after.
What else to say about Micmacs? Well it is very funny, that's one thing. The movie has it's fair share of giggles, particularly with the actors playful performances. Even the love story within the plot has more smirk moments than your usual rom-com movie. The film is also gorgeous to look at. There some beautiful set design with our heroes scrapyard being a charming "palace" of clutter, with surroundings that wouldn't look too out of place if they shared a fence with the backyard of Terry Gilliam's head.
Micmac's has been out for a little while now and will probably disappear from theaters, soon be a rental for those who know of Jeunet's work or the slightly curious. To them I say go for it. To those who may not have heard of the guy or still have a severe Alien Resurrection hangover, I say the same thing. It just might be the cure.
Saturday, 17 April 2010
Review: Repo Men
Year: 2010
Director: Miguel Sapochnik
Screenplay: Eric Garica, Garrett Lerner
Starring: Jude Law, Forrest Whitaker, Liev Schreiber, Alice Braga
Synopsis is here
Loud, bloody and gratuitous, Repo Men was something I expected to get nothing out of and came out with an idiotic grin on my face. It has all the low, brainless, expectations that a film like this would bring but managed to squeeze out some interesting elements due to it's themes...as well as the standard, beer with the mate fueled action that you must have with this sort of thing. Genre expectations and context eh?
Repo men had it's fair share of detectors before it even left the block as it's plot apparently shares a few similarities with Repo! The Genetic Opera, which of course has similarities with Equilibrium which reminded people of Fahrenheit 451...you see where I'm going with this? While I understand why fans and makers of Repo! should be more than a little frustrated, it's very easy to see why the studios bulked at Darren Lynn Bousman's vision but were ok with something a little more straightforward. Hopefully, the stars will align and more people will watch Repo! even if it is to compare the film with this one.
Despite being a sci-fi action flick, what made Repo Men work for me is the buddy chemistry that occurs between Jude Law's (Remy) and Forrest Whitaker's (Jake). It's the friendship between the two that kept the interest up and drove the movie forward for me. Credit is due to the performances because I did really dig both Law and Whitaker. Law is always more interesting when a bit scuzzy, while Whitaker's presence and general likability. Their blue collar brother relationship is so smooth, that even when they're BBQing for bikers (Whitatker's Jake forever focused on the job in a gory sequence) it gives the film a reasonable grounding.
Grounding it certainly needs for it's interestingly timed high concept. The films "price of life" themes aren't very stretching, but the OTT aspect of it all has a certain appeal. The idea that these artificial organs not only cost the price of a house but with an APR that would make a banker blush is one thing, it's made even more amusing when you find out that it's Liev Schreiber (on oil slick form) that's selling these things. It's those tiny little moments that make the film quite appealing. That is until the introduction of the cumbersome love interest.
Alice Braga stumbles into the sci-fi and the film shifts from a silly but fun sci-fi satire into even more standard affair. But while the first hour had moments that stood out well enough on it's own, the introduction of Braga's bionic woman bogs the film down into "get character A to B territory". The punches and kicks do have that solid feel to them, but they restrict the film down a narrow and familiar path. You get the feeling more can be done with the material than what transpires, and while the ending is ballsy enough to not be as neat as it could be, the lead up to it is pretty forgettable...although the soundtrack is nice.
Despite it's flaws however, Repo Men did enough to keep my eyes open before it ran out of steam. Those who enjoyed Equilibrium may find some something in this, however those who like their sci-fi a bit hard may have to go else where.
Director: Miguel Sapochnik
Screenplay: Eric Garica, Garrett Lerner
Starring: Jude Law, Forrest Whitaker, Liev Schreiber, Alice Braga
Synopsis is here
Loud, bloody and gratuitous, Repo Men was something I expected to get nothing out of and came out with an idiotic grin on my face. It has all the low, brainless, expectations that a film like this would bring but managed to squeeze out some interesting elements due to it's themes...as well as the standard, beer with the mate fueled action that you must have with this sort of thing. Genre expectations and context eh?
Repo men had it's fair share of detectors before it even left the block as it's plot apparently shares a few similarities with Repo! The Genetic Opera, which of course has similarities with Equilibrium which reminded people of Fahrenheit 451...you see where I'm going with this? While I understand why fans and makers of Repo! should be more than a little frustrated, it's very easy to see why the studios bulked at Darren Lynn Bousman's vision but were ok with something a little more straightforward. Hopefully, the stars will align and more people will watch Repo! even if it is to compare the film with this one.
Despite being a sci-fi action flick, what made Repo Men work for me is the buddy chemistry that occurs between Jude Law's (Remy) and Forrest Whitaker's (Jake). It's the friendship between the two that kept the interest up and drove the movie forward for me. Credit is due to the performances because I did really dig both Law and Whitaker. Law is always more interesting when a bit scuzzy, while Whitaker's presence and general likability. Their blue collar brother relationship is so smooth, that even when they're BBQing for bikers (Whitatker's Jake forever focused on the job in a gory sequence) it gives the film a reasonable grounding.
Grounding it certainly needs for it's interestingly timed high concept. The films "price of life" themes aren't very stretching, but the OTT aspect of it all has a certain appeal. The idea that these artificial organs not only cost the price of a house but with an APR that would make a banker blush is one thing, it's made even more amusing when you find out that it's Liev Schreiber (on oil slick form) that's selling these things. It's those tiny little moments that make the film quite appealing. That is until the introduction of the cumbersome love interest.
Alice Braga stumbles into the sci-fi and the film shifts from a silly but fun sci-fi satire into even more standard affair. But while the first hour had moments that stood out well enough on it's own, the introduction of Braga's bionic woman bogs the film down into "get character A to B territory". The punches and kicks do have that solid feel to them, but they restrict the film down a narrow and familiar path. You get the feeling more can be done with the material than what transpires, and while the ending is ballsy enough to not be as neat as it could be, the lead up to it is pretty forgettable...although the soundtrack is nice.
Despite it's flaws however, Repo Men did enough to keep my eyes open before it ran out of steam. Those who enjoyed Equilibrium may find some something in this, however those who like their sci-fi a bit hard may have to go else where.
Review: The Ghost (A.K.A The Ghost Writer)
Year: 2010
Director: Roman Polanski
Screenplay: Robert Harris, Roman Polanski
Starring: Ewan McGregor, Olivia Williams, Kim Cattrall, Pierce Brosnan
Synopsis is here
Reviews of this movie from some of my usual haunts have been full of praise for this movie. Lots of talk of metaphors and likening to Hitchcock as well as the usual cries of POLANSKI IS BACK! However throughout this plodding, dull film, there was a voice in my ear whispering: "If this wasn't Polanski, would all this gushing be heaped upon this movie?" This niggle got louder and louder until the films final scene which will be considered genius by fans and pointless by philistines such as my self.
However with it's lethargic pace and frustratingly boring characters, The Ghost did nothing to even ENGAGE me let alone entertain me. Despite having a story that should be full of intrigue, I was left with a bog standard thriller filled with dubious plot moments and listless characters who initiate jarring conversations. The scenes aren't awkward in the way they should be in a movie like this, they feel unfinished, as if the takes used weren't the best ones filmed. This continues throughout the movie giving the movie and uneven stiffness that had me at odds with everyone in the movie. It's obvious why McGregor's character is called the ghost but as he is also our eyes and ears of this piece why does he seem so uninterested? Polanski's film gives us nothing in this film to invest in. There's hints towards more successful endeavors (The Tenant, Rosemary's Baby et all) but no point do we feel the tightening grip that features in those earlier films.
The narrative is no better. Like Chinatown we have a character that goes for the money and stays for the mystery but features little or no involvement. Plot points are telegraphed from far, twists are not only late coming, but unsurprising and throughout your left at an arms length distanced from the story. Bad times from the man who turned New York City into a satanic tomb for Mia Farrow. In no way did I feel involved in what was going on and nor did it seem to matter and while I'm not looking for a cliched car chase or explosion to grab my attention, I was more than a little miffed that none of the films talk gripped me. The film is also a little insulting with some of the films moments of plot. Not to ruin the film on purpose but, considering how sensitive the material is...how often is this man left alone?
Performance wise, the film varied from dead eyed (McGregor), to miscast (Cattrall). Other displays fared better; Brosnan and Williams are high points, but all in all the there wasn't really anything to write home about. The same can be said from the films drab visuals which did as much to isolate me as a viewer as the characters relationships.
The Ghost is full of nods to the filmmakers earlier works but unfortunately the whole film feels Polanski-lite to me. It's a film that did little to excite or involve me in the slightest. A film I expected more from but gained nothing out of it. Philistine I may be, but at least this philistine has a copy of Chinatown at home to enjoy.
Director: Roman Polanski
Screenplay: Robert Harris, Roman Polanski
Starring: Ewan McGregor, Olivia Williams, Kim Cattrall, Pierce Brosnan
Synopsis is here
Reviews of this movie from some of my usual haunts have been full of praise for this movie. Lots of talk of metaphors and likening to Hitchcock as well as the usual cries of POLANSKI IS BACK! However throughout this plodding, dull film, there was a voice in my ear whispering: "If this wasn't Polanski, would all this gushing be heaped upon this movie?" This niggle got louder and louder until the films final scene which will be considered genius by fans and pointless by philistines such as my self.
However with it's lethargic pace and frustratingly boring characters, The Ghost did nothing to even ENGAGE me let alone entertain me. Despite having a story that should be full of intrigue, I was left with a bog standard thriller filled with dubious plot moments and listless characters who initiate jarring conversations. The scenes aren't awkward in the way they should be in a movie like this, they feel unfinished, as if the takes used weren't the best ones filmed. This continues throughout the movie giving the movie and uneven stiffness that had me at odds with everyone in the movie. It's obvious why McGregor's character is called the ghost but as he is also our eyes and ears of this piece why does he seem so uninterested? Polanski's film gives us nothing in this film to invest in. There's hints towards more successful endeavors (The Tenant, Rosemary's Baby et all) but no point do we feel the tightening grip that features in those earlier films.
The narrative is no better. Like Chinatown we have a character that goes for the money and stays for the mystery but features little or no involvement. Plot points are telegraphed from far, twists are not only late coming, but unsurprising and throughout your left at an arms length distanced from the story. Bad times from the man who turned New York City into a satanic tomb for Mia Farrow. In no way did I feel involved in what was going on and nor did it seem to matter and while I'm not looking for a cliched car chase or explosion to grab my attention, I was more than a little miffed that none of the films talk gripped me. The film is also a little insulting with some of the films moments of plot. Not to ruin the film on purpose but, considering how sensitive the material is...how often is this man left alone?
Performance wise, the film varied from dead eyed (McGregor), to miscast (Cattrall). Other displays fared better; Brosnan and Williams are high points, but all in all the there wasn't really anything to write home about. The same can be said from the films drab visuals which did as much to isolate me as a viewer as the characters relationships.
The Ghost is full of nods to the filmmakers earlier works but unfortunately the whole film feels Polanski-lite to me. It's a film that did little to excite or involve me in the slightest. A film I expected more from but gained nothing out of it. Philistine I may be, but at least this philistine has a copy of Chinatown at home to enjoy.
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