Year: 2010
Director: James Mangold
Screenplay: Patrick O'Neill
Starring: Tom Cruise, Cameron Diaz, Peter Sarsgaard
I didn't expect to dislike Knight and Day as much as I did, but alas, as the film had me storming out out the cinema while it was trying desperately to be funny with a predictable post credit piece of nonsense.
Desperate is the perfect word for this. Knight and Day hopelessly struggles to be entertaining with it's homages to generally better films (see North by Northwest, Dr No). The problem is it's hard to be an entertaining movie when your nothing but a vanity project for it's leads.
I like Cameron Diaz and Tom Cruise. In fact I have a lot of time for them as stars. But this film, coming out months after the teen year old panty wetting farce that is Eclipse, almost suggest that both Diaz and Cruise are worried about their relevance. It would explain the CONSTANT close ups of the stars, which seemed to be used for the reason that the audience may be so dim witted that we'll forget who we're watching. Now I understand that audiences do enjoy looking at the beautiful people when they go to the cinema but sometimes, just sometimes they also enjoy a movie with something that resembles a story also. I know it's hard for some Hollywood executives to get that into their thick skulls...but seriously, I must ask...where the fucking screenplay to this movie?
This is a film with no real notion of plot at all. There's illusion of structure, but it is simply that, an illusion. What you get is a series of transitions, punctuated by CGI action and chase scenes and little else. Is the action exciting? No, because the over use of digital imagery gives very sequence a lack of physicality. However, when your watching a film which can't even be bothered to give it's characters actual character then how can you feel excited by the constant barrage of chaos? It is a film where I truly felt no risk at all.
Knight and Day is also (supposedly) a comedy, but it's "best joke" is a running gag involving Diaz's June being drugged...constantly. Amusing. If your looking for anything particularly witty or droll you'd be better off renting all the films Knight and Day wishes it could be. If only this film had the gull to even consider having an actual script, then they wouldn't have had to rely on improvised dialogue thought up before the days shooting. Tom Cruise ain't no Will Farrell.
Bland, Garish and not at all entertaining, Knight and Day is an uninteresting mess. That's it. No witty finishing aside, no clever last line, nothing. If the film can't be bothered to try, I don't think I should either.
Sunday, 8 August 2010
Thursday, 5 August 2010
Review: Cop Out
Year: 2010
Director: Kevin Smith
Screenplay: Robb & Mark Cullen
Starring: Bruce Willis, Tracey Morgan
Synopsis is here:
If you were to buy/rent the Clerks X special edition DVD you would find on one of the bonus discs, a delightful little documentary called "The Snowball Effect". The doc chronicles the making of Smith's first indie feature, made for parley $28,000 . One of the most interesting sections, details how this crude, black and white feature, funded mostly off Smith's own back with maxed out credit cards, suddenly made a splash at Cannes. But the start of it all stemmed from a disappointing first screening and some lucky word of mouth to some indie film writers. Yes Clerks did come good at the end but if it were not for a stroke of luck by some writers and CRITICS who took a chance, watched the film and enjoyed it.
Skip forward 16 years.
Smith is a well known filmmaker, with 8 features (before this one) to his name and a formidable fan base. His Smodcast is extremely popular and he's also managed to have a side career as a comic book writer and novelist (3 books one making the bestsellers list). His latest film Cop Out gets trounced by U.S reviewers (as well as one or two UK ones). He hits the roof.
To his 1,678,899 twitter followers he types a 16 tweet tirade blasting film theory students, film students and critics about their take on the film. Stating that they should pay to watch the film as their opinion is not higher than any average Joe.
I say this.
Mr Smith I am a fan of yours. I follow your feed, I own many of your movies. I showed them to friends and got them interested in your films. I was a film student and now I am an average joe....
I found Cop Out to be a piece of crap and I did pay for it...with time. That ok?
It's in watching Cop Out, I realise how important Smith's writing can be to the projects he takes. Never the visual storyteller (he himself has admitted he's pretty much a point and shoot man) Smith's writing has always elevated much of what he's made. Crude he maybe, but from Clerks to Chasing Amy to Jay and Silent Bob, I've always found his dialogue to be witty and what he writes about, entertaining. This film, written by two brothers (and unbelievably on a 2008 list of best unproduced screenplays) is a shoddy display of writing. Crammed filled with unfunny "jokes", stiff dialogue, terrible characters and a preposterous story that's not even appealing let alone amusing. Two cops are chasing after a missing baseball card and a gun? Really? That all 2008 had for best unproduced scripts? Well if that's all there is then lets hope the talent can cover over the cracks.
Well they should...but unfortunately the clearly over capable cast appear to be zapped of charisma. This is a film where Bruce Willis (still one of the coolest actors working) and Tracey Morgan (One of the hottest comic talents on T.V right now) act around each other like strangers. This is despite the fact that their characters are supposed have worked with each other for 9 years. This is a film completely devoid any type of charm and it really hurts to watch. The idea of humor here is that if Willis looks bored and Morgan talks in that funny way he talks in 30 Rock then laughs are bound to follow. However with a script that believes that Tracy Morgan merely explaining pakour to Bruce Willis is funny. Hilarity ensues.
Smith clearly tries his best to give his film the throw back feel of the buddy comedy films of the 80's with crash zooms and electro score but to no avail. In fact for some reason, Smith decides it would be a good idea to have this excruciating music throughout the film even when it's not needed. It adds nothing to what you see on the screen, mostly because the film hardly has as visual humor to speak of either. Although kudos for the use of Rakim and Run DMC on the soundtrack.
I won't lie. As a man who is usually quite easily amused I did titter three times and actually laugh twice but in doing the math that only just beats MacGruber...and that ain't great in my books. I will also say, I found it funny that this film decides to underuse the abilities of the following: Adam Brody, Kevin Pollock and Jason Lee. However, it's funny meaning odd rather than ha ha.
Kevin Smith can complain all he wants about the film students, the critics or whoever and yes those who blog and write seriously about movies are tiny in comparison to the mass audience. But as a fan of his films (Yep nothing wrong with Jersey Girl in my view) this is way below the bar. Zack and Miri was middling but this is something else. Mr Smith it was you that likened this movie to a retarded kid and if your going to say that then yes I agree. It's a little slow on the uptake.
Director: Kevin Smith
Screenplay: Robb & Mark Cullen
Starring: Bruce Willis, Tracey Morgan
Synopsis is here:
If you were to buy/rent the Clerks X special edition DVD you would find on one of the bonus discs, a delightful little documentary called "The Snowball Effect". The doc chronicles the making of Smith's first indie feature, made for parley $28,000 . One of the most interesting sections, details how this crude, black and white feature, funded mostly off Smith's own back with maxed out credit cards, suddenly made a splash at Cannes. But the start of it all stemmed from a disappointing first screening and some lucky word of mouth to some indie film writers. Yes Clerks did come good at the end but if it were not for a stroke of luck by some writers and CRITICS who took a chance, watched the film and enjoyed it.
Skip forward 16 years.
Smith is a well known filmmaker, with 8 features (before this one) to his name and a formidable fan base. His Smodcast is extremely popular and he's also managed to have a side career as a comic book writer and novelist (3 books one making the bestsellers list). His latest film Cop Out gets trounced by U.S reviewers (as well as one or two UK ones). He hits the roof.
To his 1,678,899 twitter followers he types a 16 tweet tirade blasting film theory students, film students and critics about their take on the film. Stating that they should pay to watch the film as their opinion is not higher than any average Joe.
I say this.
Mr Smith I am a fan of yours. I follow your feed, I own many of your movies. I showed them to friends and got them interested in your films. I was a film student and now I am an average joe....
I found Cop Out to be a piece of crap and I did pay for it...with time. That ok?
It's in watching Cop Out, I realise how important Smith's writing can be to the projects he takes. Never the visual storyteller (he himself has admitted he's pretty much a point and shoot man) Smith's writing has always elevated much of what he's made. Crude he maybe, but from Clerks to Chasing Amy to Jay and Silent Bob, I've always found his dialogue to be witty and what he writes about, entertaining. This film, written by two brothers (and unbelievably on a 2008 list of best unproduced screenplays) is a shoddy display of writing. Crammed filled with unfunny "jokes", stiff dialogue, terrible characters and a preposterous story that's not even appealing let alone amusing. Two cops are chasing after a missing baseball card and a gun? Really? That all 2008 had for best unproduced scripts? Well if that's all there is then lets hope the talent can cover over the cracks.
Well they should...but unfortunately the clearly over capable cast appear to be zapped of charisma. This is a film where Bruce Willis (still one of the coolest actors working) and Tracey Morgan (One of the hottest comic talents on T.V right now) act around each other like strangers. This is despite the fact that their characters are supposed have worked with each other for 9 years. This is a film completely devoid any type of charm and it really hurts to watch. The idea of humor here is that if Willis looks bored and Morgan talks in that funny way he talks in 30 Rock then laughs are bound to follow. However with a script that believes that Tracy Morgan merely explaining pakour to Bruce Willis is funny. Hilarity ensues.
Smith clearly tries his best to give his film the throw back feel of the buddy comedy films of the 80's with crash zooms and electro score but to no avail. In fact for some reason, Smith decides it would be a good idea to have this excruciating music throughout the film even when it's not needed. It adds nothing to what you see on the screen, mostly because the film hardly has as visual humor to speak of either. Although kudos for the use of Rakim and Run DMC on the soundtrack.
I won't lie. As a man who is usually quite easily amused I did titter three times and actually laugh twice but in doing the math that only just beats MacGruber...and that ain't great in my books. I will also say, I found it funny that this film decides to underuse the abilities of the following: Adam Brody, Kevin Pollock and Jason Lee. However, it's funny meaning odd rather than ha ha.
Kevin Smith can complain all he wants about the film students, the critics or whoever and yes those who blog and write seriously about movies are tiny in comparison to the mass audience. But as a fan of his films (Yep nothing wrong with Jersey Girl in my view) this is way below the bar. Zack and Miri was middling but this is something else. Mr Smith it was you that likened this movie to a retarded kid and if your going to say that then yes I agree. It's a little slow on the uptake.
Sunday, 1 August 2010
Review: The A Team
Year: 2010
Director: Joe Carnahan
Screenplay: Joe Carnahan, Brian Bloom, Skip Woods
Starring: Liam Neeson, Bradley Cooper, Jessica Biel, Quinton 'Rampage' Jackson, Patrick Wilson
Synopsis is here
Like many recent features before it, an A Team movie doesn't really need to be good to be enjoyed as it's got that beautiful nostalgia factor that everyone loves. In the same way many bitched about The Karate Kid for being a remake, an A-team movie could get away with being a bog standard movie by nabbing motifs from the T.V series and those who shunned one, will embrace the other. The nostalgia factor revels the fact it can take away your subjectivity with a familiar face or theme tune, or like fans of the Transformers movies say to me: "It's got robots fighting innit! What more to you need!?"
Despite "watching" the series when I was young, I clearly wasn't watching hard enough as I really couldn't remember it that well. I consider this a great thing, as this means, the nostalgia factor cannot penetrate as deep and mind fuck me into believing that every aspect of Joe Carnham's (Narc) film is a piece of genius.
With this said The A Team while silly and cliched still manages to be quite fun. Don't ask me to try and remember any of it. Like an injection of pure sugar it's a brief rush to the head before crashing out into nothing. Choc-full of eye melting CGI, quick cuts and hollywood sheen, it has a "braindead" which many action fans who usually hate reading reviews will love. It's loud and full of action, but I keep feeling that perhaps Carnahan was missing a trick somewhat. I think it's down to the story which follows a similar (if not the same) suit as this years earlier entry: The Losers.
The A team lacks the tightness of The Losers, but I feel this is because the latter didn't really have anyone to answer to. The A Team appears to restricted by it's sly winks to remind you of yesteryear than anything else. Case in point the open 15 minutes. We all know that Hannibal Smith is the man with the plan, the screenplay here makes a drinking game out of it which would have you comatose before the second act. I'm not watching this film for narrative (not that you could hear what it was down to a dubious sound mix), but there's something about the film which feels more like three loosely connected T.V episodes than something of a conclusive whole. We have a bit of a giggle at a cheeky line, a bit of action breaks up the action and such but there's a glue that seems to be missing.
I'm being a tad negative here, and I shouldn't be. The A Team is not trying to be the next cinematic revolution and there's some some nice moments which makes it shine a bit brighter than some of the more duff b-movie features. The way Carnahan uses montage to visually create the teams plan while the narration plays over it is a nice touch. The film has three set pieces that will no doubt have the 15 year old boy in the viewer grinning with glee (the skyscraper sequence is surprisingly not ruined by the trailer) and the cast have the camaraderie that was sorely missing from that other nostalgia factor movie Predators.
The four leads all have a chance to shine and with the exception of Rampage Jackson (the dudes just not an actor) everyone hits a relatively strong mark. Liam Neeson in a sage-like leader role? Please! One eye closed and a hand tired behind his back. Bradley Cooper and Sharlto Copley are superb additions. Cooper has bags of charm, while Copley has the right balance of craziness to keep the humor going throughout, although his character seems to fade a little bit near the end. Unfortunately while the team take the plaudits the support are left to the wayside, Jessica Biel has less to do here than in Stealth (that's saying something) while Patrick Wilson lacks the edginess that made Jason Patric's character so interesting in The Losers.
The chemistry of the team combined with the out and out chaos comes thick and fast to keep you engaged and for the most part it does it job. But the fractured feeling of the proceeds as well as a serious lack of risk (or a good villain) really does hamper matters. Carnahan's breakout film Narc (2002) was an unoriginal but bold genre piece, which took many well treaded ideas and injected a gritty energy that come out just at the right time of the U.S cop drama explosion. Eight years on and while the budgets have got bigger the attention feels to have dropped a little. A little more focus and detail and The A Team could may have had it's cake and eaten it. Unfortunately it feels that it's eaten only part of the main course before sneaking off the snack on sweets. The sugar rush doesn't last long.
Director: Joe Carnahan
Screenplay: Joe Carnahan, Brian Bloom, Skip Woods
Starring: Liam Neeson, Bradley Cooper, Jessica Biel, Quinton 'Rampage' Jackson, Patrick Wilson
Synopsis is here
Like many recent features before it, an A Team movie doesn't really need to be good to be enjoyed as it's got that beautiful nostalgia factor that everyone loves. In the same way many bitched about The Karate Kid for being a remake, an A-team movie could get away with being a bog standard movie by nabbing motifs from the T.V series and those who shunned one, will embrace the other. The nostalgia factor revels the fact it can take away your subjectivity with a familiar face or theme tune, or like fans of the Transformers movies say to me: "It's got robots fighting innit! What more to you need!?"
Despite "watching" the series when I was young, I clearly wasn't watching hard enough as I really couldn't remember it that well. I consider this a great thing, as this means, the nostalgia factor cannot penetrate as deep and mind fuck me into believing that every aspect of Joe Carnham's (Narc) film is a piece of genius.
With this said The A Team while silly and cliched still manages to be quite fun. Don't ask me to try and remember any of it. Like an injection of pure sugar it's a brief rush to the head before crashing out into nothing. Choc-full of eye melting CGI, quick cuts and hollywood sheen, it has a "braindead" which many action fans who usually hate reading reviews will love. It's loud and full of action, but I keep feeling that perhaps Carnahan was missing a trick somewhat. I think it's down to the story which follows a similar (if not the same) suit as this years earlier entry: The Losers.
The A team lacks the tightness of The Losers, but I feel this is because the latter didn't really have anyone to answer to. The A Team appears to restricted by it's sly winks to remind you of yesteryear than anything else. Case in point the open 15 minutes. We all know that Hannibal Smith is the man with the plan, the screenplay here makes a drinking game out of it which would have you comatose before the second act. I'm not watching this film for narrative (not that you could hear what it was down to a dubious sound mix), but there's something about the film which feels more like three loosely connected T.V episodes than something of a conclusive whole. We have a bit of a giggle at a cheeky line, a bit of action breaks up the action and such but there's a glue that seems to be missing.
I'm being a tad negative here, and I shouldn't be. The A Team is not trying to be the next cinematic revolution and there's some some nice moments which makes it shine a bit brighter than some of the more duff b-movie features. The way Carnahan uses montage to visually create the teams plan while the narration plays over it is a nice touch. The film has three set pieces that will no doubt have the 15 year old boy in the viewer grinning with glee (the skyscraper sequence is surprisingly not ruined by the trailer) and the cast have the camaraderie that was sorely missing from that other nostalgia factor movie Predators.
The four leads all have a chance to shine and with the exception of Rampage Jackson (the dudes just not an actor) everyone hits a relatively strong mark. Liam Neeson in a sage-like leader role? Please! One eye closed and a hand tired behind his back. Bradley Cooper and Sharlto Copley are superb additions. Cooper has bags of charm, while Copley has the right balance of craziness to keep the humor going throughout, although his character seems to fade a little bit near the end. Unfortunately while the team take the plaudits the support are left to the wayside, Jessica Biel has less to do here than in Stealth (that's saying something) while Patrick Wilson lacks the edginess that made Jason Patric's character so interesting in The Losers.
The chemistry of the team combined with the out and out chaos comes thick and fast to keep you engaged and for the most part it does it job. But the fractured feeling of the proceeds as well as a serious lack of risk (or a good villain) really does hamper matters. Carnahan's breakout film Narc (2002) was an unoriginal but bold genre piece, which took many well treaded ideas and injected a gritty energy that come out just at the right time of the U.S cop drama explosion. Eight years on and while the budgets have got bigger the attention feels to have dropped a little. A little more focus and detail and The A Team could may have had it's cake and eaten it. Unfortunately it feels that it's eaten only part of the main course before sneaking off the snack on sweets. The sugar rush doesn't last long.
Review: The Karate Kid
Year: 2010
Director: Harald Zwart
Screenplay: Christopher Murphey
Starring: Jaden Smith, Jackie Chan, Taraji P. Henson
It's a remake, made well and truly on commerce alone and suffers from one of the worst cases of nepotism since Francis Ford Coppola decided that his daughter could act. This updated version of the 1984 hit, plays the same notes as the original film, and will most likely entertain those who have never heard of being "the best around". There will be many however, who won't be able to get past the obvious issues the film has. It's understandable but it's doesn't make the film as terrible as many supporters of the original film will probably make it sound.
The idea that 11-12 year old kids are martial art gods, who fall in love like those teenagers do is a cute idea in theory I guess, but a difficult one to put in practice. Even in the fictional world of Hollywood flicks, there has to be an air of plausibility that rings slightly true. TKK 2010 struggles with this believability for the simple reason that while the world feels quite real, the characters don't. The original film had Ralph Macchio's Daniel at the perfect age for what he experiences. By taking away those extra years, the movie falters in not only it's fight scenes (Jackie Chan beating on pre-teens anyone?) but from an emotional aspect. The relationship which blossoms between the two lead pre-teens would have much stronger if they just a little older. This really hits home during an scene in an arcade where the love interest Meiying (Wenwen Han) performs a dance routine which tries to be cute but as a westernized sexuality about it that just feels a tad wrong.
The film also suffers from an uneven performance by it's lead. Jaden Smith is clearly his fathers son and there's clearly an air of charm about him that shines through at the best of times. unfortunately this is clouded by awkward pauses, odd glances and general inexperience. It's refreshing to see a child actor who isn't older than their years (see early Dakota Fanning) but it is frustrating to see someone who hasn't got the emotional range fight against the material. Once again...a couple of years in the future and who know.
This however is just two strands of a film which is stronger than I gave it credit for. The film doesn't stray too far from the original feature in terms of basic structure (a good thing for those who love an underdog story) and the idea of setting the film outside of the the U.S is a nice touch which helps enhance the feeling of alienation that the young Dre feels. It also provides an a refreshing look at race relations. The film doesn't feel the need to shoehorn Caucasian characters within the film to "reach an audience" nor does it feel like an "urban" movie (Pop locking and hip-hop soundtrack aside). The film is confident that it's story will win people over, rather than the colour of the actors skin. There's certain elements that definitely helped (Brand name, Jackie Chan, Fresh Prince producing) but to be honest these aspects really do melt away and the film does enough to stand on it's own two feet. Other strong points include the cast around Jaden Smith help a lot during weaker moments and that the film is not only colorful and bright but zips along at a nice pace. For a family film that is nearing two and a half hours long, I certainly didn't feel it.
The films real revelation for however, is Jackie Chan as maintenance man Mr Hun . An actor known more for his comedic displays gives his best western film performance to date. His best scene (also the films strongest), involves a tearful monologue involving an accident with his character family. Like a few of his films of the past decade, it seems to be clear to Chan he can now take that energy from his infamous fight scenes (which must be becoming increasingly difficult with age) and direct it elsewhere. If this is the result, then Chan may have a beautiful renaissance as a "serious" actor.
It has enough 80's charm (read cheese) who remain watchable, and more than enough of it's own moments to not cheapen any memories of the original film. Fun to watch, well put together fight choreography and a heart in the right place. It is clear that like I said, the film is clearly based on brand recognition* and commerce over everything. However in watching those small moments and taking in the little aspects of charm the film as, you can see at least this one is trying.
*Note: It is called The Karate Kid in America clearly because it's a remake and people know the name. However, throughout the film they preform Kung Fu. A part of me really does believe it could have been called the Kung Fu Kid and survived commercially.
Director: Harald Zwart
Screenplay: Christopher Murphey
Starring: Jaden Smith, Jackie Chan, Taraji P. Henson
It's a remake, made well and truly on commerce alone and suffers from one of the worst cases of nepotism since Francis Ford Coppola decided that his daughter could act. This updated version of the 1984 hit, plays the same notes as the original film, and will most likely entertain those who have never heard of being "the best around". There will be many however, who won't be able to get past the obvious issues the film has. It's understandable but it's doesn't make the film as terrible as many supporters of the original film will probably make it sound.
The idea that 11-12 year old kids are martial art gods, who fall in love like those teenagers do is a cute idea in theory I guess, but a difficult one to put in practice. Even in the fictional world of Hollywood flicks, there has to be an air of plausibility that rings slightly true. TKK 2010 struggles with this believability for the simple reason that while the world feels quite real, the characters don't. The original film had Ralph Macchio's Daniel at the perfect age for what he experiences. By taking away those extra years, the movie falters in not only it's fight scenes (Jackie Chan beating on pre-teens anyone?) but from an emotional aspect. The relationship which blossoms between the two lead pre-teens would have much stronger if they just a little older. This really hits home during an scene in an arcade where the love interest Meiying (Wenwen Han) performs a dance routine which tries to be cute but as a westernized sexuality about it that just feels a tad wrong.
The film also suffers from an uneven performance by it's lead. Jaden Smith is clearly his fathers son and there's clearly an air of charm about him that shines through at the best of times. unfortunately this is clouded by awkward pauses, odd glances and general inexperience. It's refreshing to see a child actor who isn't older than their years (see early Dakota Fanning) but it is frustrating to see someone who hasn't got the emotional range fight against the material. Once again...a couple of years in the future and who know.
This however is just two strands of a film which is stronger than I gave it credit for. The film doesn't stray too far from the original feature in terms of basic structure (a good thing for those who love an underdog story) and the idea of setting the film outside of the the U.S is a nice touch which helps enhance the feeling of alienation that the young Dre feels. It also provides an a refreshing look at race relations. The film doesn't feel the need to shoehorn Caucasian characters within the film to "reach an audience" nor does it feel like an "urban" movie (Pop locking and hip-hop soundtrack aside). The film is confident that it's story will win people over, rather than the colour of the actors skin. There's certain elements that definitely helped (Brand name, Jackie Chan, Fresh Prince producing) but to be honest these aspects really do melt away and the film does enough to stand on it's own two feet. Other strong points include the cast around Jaden Smith help a lot during weaker moments and that the film is not only colorful and bright but zips along at a nice pace. For a family film that is nearing two and a half hours long, I certainly didn't feel it.
The films real revelation for however, is Jackie Chan as maintenance man Mr Hun . An actor known more for his comedic displays gives his best western film performance to date. His best scene (also the films strongest), involves a tearful monologue involving an accident with his character family. Like a few of his films of the past decade, it seems to be clear to Chan he can now take that energy from his infamous fight scenes (which must be becoming increasingly difficult with age) and direct it elsewhere. If this is the result, then Chan may have a beautiful renaissance as a "serious" actor.
It has enough 80's charm (read cheese) who remain watchable, and more than enough of it's own moments to not cheapen any memories of the original film. Fun to watch, well put together fight choreography and a heart in the right place. It is clear that like I said, the film is clearly based on brand recognition* and commerce over everything. However in watching those small moments and taking in the little aspects of charm the film as, you can see at least this one is trying.
*Note: It is called The Karate Kid in America clearly because it's a remake and people know the name. However, throughout the film they preform Kung Fu. A part of me really does believe it could have been called the Kung Fu Kid and survived commercially.
Monday, 26 July 2010
Review: Splice
Year: 2009 (UK Release: 2010)
Director: Vincenzo Natali
Screenplay: Vincenzo Natali, Antoinette Terry Bryant, Doug Taylor
Starring: Adrien Brody, Sarah Polley, Delphine Chanéac
Note: Be forewarned. There's some slight "spoiler" moments within the review. Nothing too specific mind.
Synopsis is here
Once again the movie marketers strike. Unable to create a trailer that truly encapsulates what this sci-fi drama is about, these sneak attackers of the movie world once again hit the movie goer with a promo that gives the film the wrong feel. The trailers for Splice make us feel like we're in for a film that could double up with that "classic" piece of 90's sci-fi erotica: Species. But no. Despite Splice's look, it actually feels like a hybrid of The Fly (1986) and...American Beauty (1999)...kinda. There's more talking than I expected in Splice, but this is because it merely cares about what's talking about a little more than a more generic offering.
Taking it's notes from the Cronenbergs body horror/tragic romance or more exactly William Friedkin's The Exorcist (1973). Splice plays out more like a family drama with sci-fi added after thought than a the full on thriller it's advertising suggested. While the forefront gives us abject oozing, winged hybrids and all manner of gene meddling nonsense; the subtext touches on children giving birth to children, nature and nurture arguments and of course humans playing god. Splice of course has genre requirements and it's obvious dialogue and campy moments remind you that it's not THAT serious a film. However, the film does mark a maturing point in writer/director Natali's career.
The most interesting points I took from the film stem from Splice's most fleshed out character; that of Sarah Polley's Elisa. This is a character who has been brought up from a abusive family to become a successful young scientist. Her background plays an important role throughout that film as we watch Elisa start off as a idealistic researcher with no wish for children (clearly stemming from her relationship with her mother), to idealistic "mother", before becoming crucially, her own mother. It's an interesting arc that not only plays off well with the genetic jump around, but also provides a intriguing grey area for a character that we would usually provide straight sympathy for. Polley takes a while to get on board with at first, but as we delve into her character more, she really starts to tuck into the meat of the role. Adrien Brody once again has to inject life into a character who is quite flat and appears to struggle against the more impressive Polley but this seems to stem from have not as much to do screenplay wise. With this said however, the two leads share a nice amount of chemistry with Natali filming the squabbling scenes with a nice touch of melodrama that really mixes things up with the more gross aspects of the movie.
I really enjoyed the fact that despite the films sci-fi settings (with dialogue blatantly telling us that they've "crossed a line!") the film, quietly confident in it's way gives us a film about two immature adults who have yet to find the balance in their own life in order to bring up another life. From the telling misc en scene (a massive Anime poster centralizing a youthfully geeky apartment), to the music the characters listen to (Brody's characters incessant rock and roll listening) I was quickly reminded of the parents of Dogtooth in this couples inability to find a true emotional connection to their "child".
The "child" and main sci-fi element of the film itself is Dren, the DNA spliced hybrid. Dren's performance is a combination of child-like curiosity, vulnerability and viciousness with just a right hint of allure to make things difficult later on. Delphine Chanéac does well with the role and like Polley's Ilsa (the two arcs of the characters sometimes mirror each due to story elements) we are given not just an out and out crime against nature but a youthful being who is clearly missing the guidance sorely needed at such a young stage. Near the end it's clear that Dren becomes more of a risk, but this stems from the issues of the "parents" than anything else.
Splice goes into some provocative situations later on in the movie, playing on Oedipal elements and some slight touching on gender politics that enhance about some of the films more disturbing moments. It doesn't completely follow through, climaxing with a third act that ends a tad too conventionally for my liking. To add a small insult to injury, the decision to have such a standard sci-fi thriller ending almost feels like a cheat to everything that's happened before it. But no matter. It's a film that manages to balance family melodrama with creepy things going on involving a actress made up to look part model, part Chris Cunningham experiment. For the most part it does that rather well.
Director: Vincenzo Natali
Screenplay: Vincenzo Natali, Antoinette Terry Bryant, Doug Taylor
Starring: Adrien Brody, Sarah Polley, Delphine Chanéac
Note: Be forewarned. There's some slight "spoiler" moments within the review. Nothing too specific mind.
Synopsis is here
Once again the movie marketers strike. Unable to create a trailer that truly encapsulates what this sci-fi drama is about, these sneak attackers of the movie world once again hit the movie goer with a promo that gives the film the wrong feel. The trailers for Splice make us feel like we're in for a film that could double up with that "classic" piece of 90's sci-fi erotica: Species. But no. Despite Splice's look, it actually feels like a hybrid of The Fly (1986) and...American Beauty (1999)...kinda. There's more talking than I expected in Splice, but this is because it merely cares about what's talking about a little more than a more generic offering.
Taking it's notes from the Cronenbergs body horror/tragic romance or more exactly William Friedkin's The Exorcist (1973). Splice plays out more like a family drama with sci-fi added after thought than a the full on thriller it's advertising suggested. While the forefront gives us abject oozing, winged hybrids and all manner of gene meddling nonsense; the subtext touches on children giving birth to children, nature and nurture arguments and of course humans playing god. Splice of course has genre requirements and it's obvious dialogue and campy moments remind you that it's not THAT serious a film. However, the film does mark a maturing point in writer/director Natali's career.
The most interesting points I took from the film stem from Splice's most fleshed out character; that of Sarah Polley's Elisa. This is a character who has been brought up from a abusive family to become a successful young scientist. Her background plays an important role throughout that film as we watch Elisa start off as a idealistic researcher with no wish for children (clearly stemming from her relationship with her mother), to idealistic "mother", before becoming crucially, her own mother. It's an interesting arc that not only plays off well with the genetic jump around, but also provides a intriguing grey area for a character that we would usually provide straight sympathy for. Polley takes a while to get on board with at first, but as we delve into her character more, she really starts to tuck into the meat of the role. Adrien Brody once again has to inject life into a character who is quite flat and appears to struggle against the more impressive Polley but this seems to stem from have not as much to do screenplay wise. With this said however, the two leads share a nice amount of chemistry with Natali filming the squabbling scenes with a nice touch of melodrama that really mixes things up with the more gross aspects of the movie.
I really enjoyed the fact that despite the films sci-fi settings (with dialogue blatantly telling us that they've "crossed a line!") the film, quietly confident in it's way gives us a film about two immature adults who have yet to find the balance in their own life in order to bring up another life. From the telling misc en scene (a massive Anime poster centralizing a youthfully geeky apartment), to the music the characters listen to (Brody's characters incessant rock and roll listening) I was quickly reminded of the parents of Dogtooth in this couples inability to find a true emotional connection to their "child".
The "child" and main sci-fi element of the film itself is Dren, the DNA spliced hybrid. Dren's performance is a combination of child-like curiosity, vulnerability and viciousness with just a right hint of allure to make things difficult later on. Delphine Chanéac does well with the role and like Polley's Ilsa (the two arcs of the characters sometimes mirror each due to story elements) we are given not just an out and out crime against nature but a youthful being who is clearly missing the guidance sorely needed at such a young stage. Near the end it's clear that Dren becomes more of a risk, but this stems from the issues of the "parents" than anything else.
Splice goes into some provocative situations later on in the movie, playing on Oedipal elements and some slight touching on gender politics that enhance about some of the films more disturbing moments. It doesn't completely follow through, climaxing with a third act that ends a tad too conventionally for my liking. To add a small insult to injury, the decision to have such a standard sci-fi thriller ending almost feels like a cheat to everything that's happened before it. But no matter. It's a film that manages to balance family melodrama with creepy things going on involving a actress made up to look part model, part Chris Cunningham experiment. For the most part it does that rather well.
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