Year: 2012
Director: Asger Leth
Screenplay: Pablo Fenjves
Starring: Sam Worthington, Elizabeth Banks, Jamie Bell, Edward Burns, Ed Harris.
Synopsis is here
I'm getting more and more frustrated at the fact that Anthony Mackie cannot get a decent leading gig while Sam Worthington is centre stage on a whole range of sub-standard thrillers and blockbusters. I blame James Cameron.
I apologise for being a little harsh on Mr Worthington, as in all honestly he appears to be a genuine guy. He's probably a real gentlemen. Unfortunately, despite the spunk he's has brought to roles, he hasn't built upon his coming out party in Avatar. But then again, things may change, if he was given a screenplay that's worthwhile.
While trying to keep a grip on his Australian accent (he is meant to be from New York here), he also has to struggle on with a screenplay which, is only too quick to trot out tried and tested and tried tropes at a drop of a dime. Look! There's the cop with the troubled past! Hey, there's an unscrupulous reporter whose only too quick to back stab or bet on a good story! I'm not sure about that character! He seems way too trusting...lets hope the script surprises! Oh...it doesn't.
I'm sure I've bemoaned all this before on this site. It's no way a problem to use such common devices. However, if a film is lazy in it's execution of such things, then it will not generate any excitement. Man on a Ledge slapped me round the chops with dull, generic plot, sprinkles warmed over dialogue over nearly every scene and did nothing to make me interested in it's main conceit. Even the themes that are underlined within the plot are haphazardly shoehorned in. We have moments, which touch upon media hysteria and the 2008 economic crash, however, the film wishes to plod on with it's charmless heist and waste decent character actors (Banks, Mackie, Bell, the dude that was awesome in The Mist). It's an Oceans movie without the smugness, but also without the wit, style or sense of fun.
The main problem however, is I was never on that ledge with Nick. The film doesn't try hard enough to put you in the world. Yes, there's a man on the ledge, and yes there's an area of wish-fulfilment (look at the little man sticking it to the white collar wall street) that could be indulged, but the film never reaches that level of escapism. Here Worthington isn't convincing enough, and the likes of Ed Burns and Ed Harris just don't seem to care enough. The script drops clunky dialogue on a regular basis. It's great to see Genesis Rodriguez strip down to a matching pink bra and panty combo when but her performance sticks out like a sore thumb, you realise how pointless that moment really is.
If there's one thing nice to say abut Man on the Ledge, it will be that at least it looks great on blu-ray. A line like that allows me to make a dumb joke about polishing a turd, but much like the film, such a joke would provide me with little satisfaction.
Sunday, 27 May 2012
Thursday, 17 May 2012
Geek Planet Online: Lost and Found
"I feel some will agree with me that there was something so enriching, as a film fan, scanning the rows and rows of titles for something to pique your interest. I still love going into bricks and mortar stores, looking for deals or hidden gems, or picking up a title with great cover art."
I've had an article posted about missing those old ways of finding and watching films. Please click the quote to view.
Friday, 4 May 2012
British Film Bloggers Circle: Abusive Movie Comments.
"From racial abuse to death threats, it seems that having a view on a popular movie means personal attacks on your person is fair game. That’s right, you don’t like Transformers then you’re clearly a dumb nigger cunt bitch who should get killed."
I've posted a new article on abusive movie comments on the British Film Bloggers Circle. Click the quote above to view.
Sunday, 29 April 2012
Review: The Avengers
Year: 2012
Director: Joss Whedon
Screenplay: Zak Penn, Joss Whedon
Starring: Robert Downley Jr, Chris Evans, Jeremy Renner, Tom Hiddlestone, Scarlett Johannson, Mark Ruffalo, Samuel L Jackson
Synopsis is here:
Ploughing through my grammatically dubious past reviews (seriously, the grammar Nazis must have a field day before never returning), it's clear to see that my thoughts about Marvel's studio adventures were mostly entertaining, yet consistently preoccupied. My enjoyment of the various entries have ebbed and flowed for an assortment of reasons. However, the element that stands out like the proverbial sore thumb, is the common knowledge that all these features are accumulating to something grander in scale.
This has lead us to a series of relatively fun jaunts which are sorely lacking at points. We've come to a very peculiar point in cinema in which the executives are now so invested in future projects that the first features are pushing sequels, way beyond a cheeky hint or odd nod. It seems that back stories and plot points are now being made even more verge than ever before, due to the desire for the audience double dip.
This brings us to The Avengers*, a film which aims to be the actual fruit of all the other labour, the definition to the large amount of Marvel input. It's hard not to feel a little duped by the "in-complete" feel of the previous entries. However, even before the end of the first act, any ill feeling begin to subside.
Simply put; for me, The Avengers delivers, in spades. Joss Whedon doesn't give us a "game-changer" or whatever new hyperbolic label being haphazardly thrown about recently. In fact Whedon's ingredient for success is to par everything down back to basics. True, the use of story and character has been bolstered somewhat by the previous films and yet The Avengers works on it's own as Whedon has boiled every character down to their essence, balanced the screen time and grown the film around them.
Liberties with it's introductions and the script has small issues (some awkward info-dumps) with some of the intricacies of it's admittedly silly plot (lets not fool ourselves that the tesseract macguffin is any more advanced than a certain allspark). The difference here between Whedon's Avengers and many of the others blockbusters that have passed, is that here, he and Penn (writing credits to X-men) really utilises the knowledge of the world these characters inhabit. The screenplay knows what makes these heroes tick and allows them to grow organically. From the humour of the characters to the action sequences, it all stems from a good understanding of not only the material, but character itself.
Let's take the villian of Loki (Hiddlestone) for example, who has bloomed from a Commodus-lite snivelling creature to a presence of Machiavellian reverence. Hiddlestone's Loki now has the same self arrogant swagger as Whedon's Mayor, but now he is a fully formed creation. This villain, like The Joker, isn't simply a faceless alien or a generic spy antagonist but a character given an intricate agenda. Not just one born from a lazy wish for power, but sourced from a fractured family relationship only started in the first film. Such elements are examined and expanded with a deftness of touch, which has been sorely missing from a few blockbusters.
But that's what the pens (well keyboards...possibly tablets?) of Pen and Whedon bring to proceedings. Their focus the actual people inside the frame helps highlight the spectacle. What we are given is action driven through characters as opposed to empty effects. In a world in which we're consistently being being thrown bigger effects in a shallow effort to make us believe that bigger (and louder) is better, The Avengers works because it's creators simply go back to what made blockbusters so memorable in the first place. We share their plight, see their fears and flaws, pompous as this may sound, Whedon quite simply, has given these heroes their humanity.
Joss Whedon has grown and matured as a feature film director. The Avengers carries much of his writing quips and visual style, but while the Serenity was a little raw and still that cult feel (though a favourite of mine), here we have a boarder appeal but at no expense of entertainment. The humour is just as colourful as the film itself but it's is not at the sacrifice of the characters. It's not shoehorned or misplaced, quite the opposite. The Avengers channels its spectacle through emotion and character as opposed to flashing blatant brand recognition and explosions (although that stuff is clearly within the film). Whedon is slowly crafting his own style of film action (those short sharp zooms were seen in Serenity). And while the set pieces aren't the strongest I've seen, the simple fact that sections are tailored to suit the characters personalties effectively makes a huge difference. I will say however, that the film suffers from a horrible infliction the proceeds so many of it's type. I found myself questioning the dubious power levels that these people have. The super powers of these beings seem to fluctuate for when the story accuires. I'm sure an actual comic book fan would be able to "set me straight", however it's that issue which reminds me why I favour the likes of Batman.
Slight frustrations aside, The Avengers is what I want from a summer movie. Whedon's film manages to mine the charisma found in the comics and place it on screen. We have an odd balance in play, in which, what we know about the characters from the previous entries gives us a certain level of depth and knowledge, and yet The Avengers gives enough space and time to allow these characters to mature further. I am still, in all honestly, wondering about the dodgy mechanics of Loki using his silly power cube to bring about the Gears of War reject army and story does feel dumb. But like a good summer movie should, I rolled with the punches because the emotion behind the motivations are there. The performances (standouts are Hiddlestone and Ruffalo, the humour and knock around tone washed away my issues. The Avengers has laid down the Summer gauntlet, I hope it starts as it means to go on.
*I simply refuse to call the film by it's stupid name change. The only good thing that alteration has provided, is making sure I get U.K cinema listings as opposed to U.S ones in Google.
Director: Joss Whedon
Screenplay: Zak Penn, Joss Whedon
Starring: Robert Downley Jr, Chris Evans, Jeremy Renner, Tom Hiddlestone, Scarlett Johannson, Mark Ruffalo, Samuel L Jackson
Synopsis is here:
Ploughing through my grammatically dubious past reviews (seriously, the grammar Nazis must have a field day before never returning), it's clear to see that my thoughts about Marvel's studio adventures were mostly entertaining, yet consistently preoccupied. My enjoyment of the various entries have ebbed and flowed for an assortment of reasons. However, the element that stands out like the proverbial sore thumb, is the common knowledge that all these features are accumulating to something grander in scale.
This has lead us to a series of relatively fun jaunts which are sorely lacking at points. We've come to a very peculiar point in cinema in which the executives are now so invested in future projects that the first features are pushing sequels, way beyond a cheeky hint or odd nod. It seems that back stories and plot points are now being made even more verge than ever before, due to the desire for the audience double dip.
This brings us to The Avengers*, a film which aims to be the actual fruit of all the other labour, the definition to the large amount of Marvel input. It's hard not to feel a little duped by the "in-complete" feel of the previous entries. However, even before the end of the first act, any ill feeling begin to subside.
Simply put; for me, The Avengers delivers, in spades. Joss Whedon doesn't give us a "game-changer" or whatever new hyperbolic label being haphazardly thrown about recently. In fact Whedon's ingredient for success is to par everything down back to basics. True, the use of story and character has been bolstered somewhat by the previous films and yet The Avengers works on it's own as Whedon has boiled every character down to their essence, balanced the screen time and grown the film around them.
Liberties with it's introductions and the script has small issues (some awkward info-dumps) with some of the intricacies of it's admittedly silly plot (lets not fool ourselves that the tesseract macguffin is any more advanced than a certain allspark). The difference here between Whedon's Avengers and many of the others blockbusters that have passed, is that here, he and Penn (writing credits to X-men) really utilises the knowledge of the world these characters inhabit. The screenplay knows what makes these heroes tick and allows them to grow organically. From the humour of the characters to the action sequences, it all stems from a good understanding of not only the material, but character itself.
Let's take the villian of Loki (Hiddlestone) for example, who has bloomed from a Commodus-lite snivelling creature to a presence of Machiavellian reverence. Hiddlestone's Loki now has the same self arrogant swagger as Whedon's Mayor, but now he is a fully formed creation. This villain, like The Joker, isn't simply a faceless alien or a generic spy antagonist but a character given an intricate agenda. Not just one born from a lazy wish for power, but sourced from a fractured family relationship only started in the first film. Such elements are examined and expanded with a deftness of touch, which has been sorely missing from a few blockbusters.
But that's what the pens (well keyboards...possibly tablets?) of Pen and Whedon bring to proceedings. Their focus the actual people inside the frame helps highlight the spectacle. What we are given is action driven through characters as opposed to empty effects. In a world in which we're consistently being being thrown bigger effects in a shallow effort to make us believe that bigger (and louder) is better, The Avengers works because it's creators simply go back to what made blockbusters so memorable in the first place. We share their plight, see their fears and flaws, pompous as this may sound, Whedon quite simply, has given these heroes their humanity.
Joss Whedon has grown and matured as a feature film director. The Avengers carries much of his writing quips and visual style, but while the Serenity was a little raw and still that cult feel (though a favourite of mine), here we have a boarder appeal but at no expense of entertainment. The humour is just as colourful as the film itself but it's is not at the sacrifice of the characters. It's not shoehorned or misplaced, quite the opposite. The Avengers channels its spectacle through emotion and character as opposed to flashing blatant brand recognition and explosions (although that stuff is clearly within the film). Whedon is slowly crafting his own style of film action (those short sharp zooms were seen in Serenity). And while the set pieces aren't the strongest I've seen, the simple fact that sections are tailored to suit the characters personalties effectively makes a huge difference. I will say however, that the film suffers from a horrible infliction the proceeds so many of it's type. I found myself questioning the dubious power levels that these people have. The super powers of these beings seem to fluctuate for when the story accuires. I'm sure an actual comic book fan would be able to "set me straight", however it's that issue which reminds me why I favour the likes of Batman.
Slight frustrations aside, The Avengers is what I want from a summer movie. Whedon's film manages to mine the charisma found in the comics and place it on screen. We have an odd balance in play, in which, what we know about the characters from the previous entries gives us a certain level of depth and knowledge, and yet The Avengers gives enough space and time to allow these characters to mature further. I am still, in all honestly, wondering about the dodgy mechanics of Loki using his silly power cube to bring about the Gears of War reject army and story does feel dumb. But like a good summer movie should, I rolled with the punches because the emotion behind the motivations are there. The performances (standouts are Hiddlestone and Ruffalo, the humour and knock around tone washed away my issues. The Avengers has laid down the Summer gauntlet, I hope it starts as it means to go on.
*I simply refuse to call the film by it's stupid name change. The only good thing that alteration has provided, is making sure I get U.K cinema listings as opposed to U.S ones in Google.
Saturday, 14 April 2012
Review: Battleship
Year: 2012
Director: Peter Berg
Screenplay: Erich Hoeber, Jon Hoeber
Starring: Alexander Skarsgård, Brooklyn Decker, Liam Neeson, Taylor Kitsch, Rihanna
Synopsis is here:
Halfway through Battleship, my mind wandered and formed two creations. One was a basic plot premise for the alleged upcoming monopoly film (I suggest a film like It's a mad mad world or rate race with Ben Kingsley as the monopoly guy). The second invention was the Battleship drinking game. You drink when Rihanna does something feisty, spunky or sprouts dialogue that was clearly reserved for Michelle Rodriguez (possibly too busy to sign for this film). Drink when the film features a scene which displays hilarious jingoistic tendencies. Drink when risible line of trite sound bite friendly dialogue is uttered by Taylor Kitsch. Seriously, It just kept going.
Battleship (based inexplicably on the Hasbro board game is one of the most expensive unintentional comedies I've had the (dis)pleasure of watching. I mean it must be winking at the camera if after two waves of alien attacks, its lead only then mentions "I've got a bad feeling about this". At one point after yet another moment of silly "lets-go-get-um" dialogue, a scientist actually asks in a rare moment of self reference: "who actually talks like that". The film suggests that the Army and Navy haven't neglected it's veteran's in any shape or form. So much so that they can not only rely on them when the chips are down, but said vet's will easily have the faculties to jump into action at a moments notice. Maybe I'm hopelessly wrong, and a ragtag band of U.S Dad's Armies and disabled soldiers could hold their own against an almost infinitely advanced Alien army but this I doubt. Such is escapism and suspension of belief. Maybe I'm just not pushing mine far enough.
But maybe not. Battleship is a film which costs around $200 million to make and yet is so invested in becoming Transformers at sea that they couldn't even be bothered to finish the script fully. The film looks like it's poking fun at itself and yet it can't even be bothered to sort it's structure out. In the obligatory alien autopsy scene, the film mimics Independence Day (it does this often) with a flashback sequence which reminds us of that weird mind meld moment with Bill Pullman in Area 51. The film half heartily gives us some exposition of the beings, but then drops the info, immediately afterwards. The film is full of moments and devices like this in which scenes don't advance plot or character, but remind in the film because Battleship, that's why.
This is Peter Berg mimicking Michael Bay as close as he possibly can. An attack on Tokyo* feels lifted off Dark of the Moon. The film is littered with countless Bay-like circling shots and needless slow motion, paper thin character development and an obscene running time which belies the films actual depth. Yet, credit to Berg for delivering a popcorn which doesn't have that nasty after-taste that comes with choking down Bay's tedious fighting Robots saga.
Lets not lie, this is a jingoistic recruitment film for the U.S Navy, but the film is so ridiculous in it's creation you may not believe it. You may even laugh as hard I did. I was far more entertained by this films absurdity than any Transformer film. Just watch the way it shows images of children under threat from the alien "other". Or an amusing aside where Taylor Kitsch (who is woeful in this, what happened to the John Carter pluck?) basically does his best to make sure that little Jimmy or whoever joins the Navy with his description of life at sea ("I drive the ship, it's way more fun").
Whether or not the film and it's comically haphazard construction is intentional or not will be in the eye of the beholder. There's a good chance that those who love the likes of Battle L.A and Transformers will probably see no different. However, Bergs film despite it's sloppy scripting, terrible acting (featuring a criminally wasted Neeson) and dubious placement of not only military organisations but fizzy drinks, mobiles and the like, is relatively competent in one area. While the action itself was relatively bland, it at least it could be followed. Berg's film misses the topical commentary (and more entertaining set pieces) of his earlier work, Hancock, and lacks the edginess that Very Bad Things, brought to proceedings. However, Battleship revels in its badness enough, to make it a poor movie worth watching once if not for the hilarity. I will be wasted if I ever sit down to watch this again.
Director: Peter Berg
Screenplay: Erich Hoeber, Jon Hoeber
Starring: Alexander Skarsgård, Brooklyn Decker, Liam Neeson, Taylor Kitsch, Rihanna
Synopsis is here:
Halfway through Battleship, my mind wandered and formed two creations. One was a basic plot premise for the alleged upcoming monopoly film (I suggest a film like It's a mad mad world or rate race with Ben Kingsley as the monopoly guy). The second invention was the Battleship drinking game. You drink when Rihanna does something feisty, spunky or sprouts dialogue that was clearly reserved for Michelle Rodriguez (possibly too busy to sign for this film). Drink when the film features a scene which displays hilarious jingoistic tendencies. Drink when risible line of trite sound bite friendly dialogue is uttered by Taylor Kitsch. Seriously, It just kept going.
Battleship (based inexplicably on the Hasbro board game is one of the most expensive unintentional comedies I've had the (dis)pleasure of watching. I mean it must be winking at the camera if after two waves of alien attacks, its lead only then mentions "I've got a bad feeling about this". At one point after yet another moment of silly "lets-go-get-um" dialogue, a scientist actually asks in a rare moment of self reference: "who actually talks like that". The film suggests that the Army and Navy haven't neglected it's veteran's in any shape or form. So much so that they can not only rely on them when the chips are down, but said vet's will easily have the faculties to jump into action at a moments notice. Maybe I'm hopelessly wrong, and a ragtag band of U.S Dad's Armies and disabled soldiers could hold their own against an almost infinitely advanced Alien army but this I doubt. Such is escapism and suspension of belief. Maybe I'm just not pushing mine far enough.
But maybe not. Battleship is a film which costs around $200 million to make and yet is so invested in becoming Transformers at sea that they couldn't even be bothered to finish the script fully. The film looks like it's poking fun at itself and yet it can't even be bothered to sort it's structure out. In the obligatory alien autopsy scene, the film mimics Independence Day (it does this often) with a flashback sequence which reminds us of that weird mind meld moment with Bill Pullman in Area 51. The film half heartily gives us some exposition of the beings, but then drops the info, immediately afterwards. The film is full of moments and devices like this in which scenes don't advance plot or character, but remind in the film because Battleship, that's why.
This is Peter Berg mimicking Michael Bay as close as he possibly can. An attack on Tokyo* feels lifted off Dark of the Moon. The film is littered with countless Bay-like circling shots and needless slow motion, paper thin character development and an obscene running time which belies the films actual depth. Yet, credit to Berg for delivering a popcorn which doesn't have that nasty after-taste that comes with choking down Bay's tedious fighting Robots saga.
Lets not lie, this is a jingoistic recruitment film for the U.S Navy, but the film is so ridiculous in it's creation you may not believe it. You may even laugh as hard I did. I was far more entertained by this films absurdity than any Transformer film. Just watch the way it shows images of children under threat from the alien "other". Or an amusing aside where Taylor Kitsch (who is woeful in this, what happened to the John Carter pluck?) basically does his best to make sure that little Jimmy or whoever joins the Navy with his description of life at sea ("I drive the ship, it's way more fun").
Whether or not the film and it's comically haphazard construction is intentional or not will be in the eye of the beholder. There's a good chance that those who love the likes of Battle L.A and Transformers will probably see no different. However, Bergs film despite it's sloppy scripting, terrible acting (featuring a criminally wasted Neeson) and dubious placement of not only military organisations but fizzy drinks, mobiles and the like, is relatively competent in one area. While the action itself was relatively bland, it at least it could be followed. Berg's film misses the topical commentary (and more entertaining set pieces) of his earlier work, Hancock, and lacks the edginess that Very Bad Things, brought to proceedings. However, Battleship revels in its badness enough, to make it a poor movie worth watching once if not for the hilarity. I will be wasted if I ever sit down to watch this again.
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