Year: 2010
Director: Rodrigo Cortes
Screenplay: Chris Sparling
Starring: Ryan Reynolds
Note: The last paragraph doesn't explicitly spoil anything about the film, however, it may open enough of a door for you to guess an aspect of the plot.
Uncompromising in it's intent and with an impressive energy, Buried is certainly an unrelenting experience. Director Rodrigo Cortes shoots the hell out his one location and gives us a thriller that is not only utilizes it's claustrophobic atmosphere brilliant with the cinematography and lighting, but also gains a great performance from Ryan Reynolds which captures a wide spectrum of thoughts and fears from someone in such a nightmarish experience.
With it's first seen shot (the movie starts in darkness) being reminiscent of one of my favorite moments of The Blair Witch Project (Heather's apologies) I knew I was about to "enjoy" Buried. The use of the quotes is a simple one, as there is a sense of hopelessness that flows throughout the film and left me, the viewer with an unshakable level of dread. Cortes' works wonders setting's space (or lack thereof) creating a vast sense of unease and tension with the use of sound and tight camerawork. I found it hard to sit still and the reason was simple, I felt like I was in there with him. Every shuffle, every twitch and every scream for help feels as if it will never be heard. To give that feel is a difficult one, one that was previously used stunningly in The Vanishing (1988) and more recently The Decent (2006). It helps even more if you hold a phobia for such things (I don't but I could see why many do) as every small tweak in the plot feels amplified by the stakes being so raw and simple. The basic need to survive, can sometimes be neglected in many films, particularly in thrillers but not here. Your with Paul (Reynolds) every step of the way.
Like Moon (2009), Buried is an excellent way of display an actors talents and Reynolds brings all of his in spades. A charming presence in laggy, bland comic affair; Reynolds is a truly engaging presence here. I panicked when he panicked, I shudder with the same despair he gave and his comic timing gives the films humor (yes it is there) and wickedly absurdest drollness. To hold someones attention for 90 mins is getting tougher by the year and Reynolds manages it incredibly. It's his likability that really carries the film across. Even when it has to dig deep to keep the film interesting, his engaging persona helps give an air of plausibility.
I had a "good time" with Buried even though I'm clearly never going to check it out again. To explain the reason could really ruin the experience to those who haven't seen it yet. It's not that there's anything in the film I felt was done badly, on the contrary; it's the fact that there's moments in the film that questioned my mortality and how fragile it is effectively enough that to watch again almost feels sadistic. This is coming from a man who owns A LOT of Hanke, so to me that says quite a bit.
Monday, 4 October 2010
Sunday, 3 October 2010
Review: Takers
Year: 2010
Director: John Luessenhop
Screenplay: Peter Allen, Gabriel Casseus, John Luessenhop, Avery Duff
Starring: Idris Alba, Paul Walker, Chris Brown, T.I, Matt Dillon, Hayden Christensen, Jay Hernandez, Zoe Saldana
It's great to watch films with different friends, cage their reactions and see what they found in the movie that you may have missed. After watching Takers with a good friend whose forgotten more about movies then I know, it was interesting to see what he found in the films architecture, influences and cinematography. He's also a bigger fan of the "B-movie" than I am, so his insight to it was quite worthwhile.
Unfortunately for me despite the clean, sleek look of the movie, the presence of some admirable actors and some nice action moments, Takers is pretty undistinctive. Having watched Ben Affleck create a solid (although cliched) genre piece the week before with The Town, maybe I'm being harsh on the film. However, by the time you see the criminal group of "Takers" walking in slow motion behind an exploding helicopter I had a good hankering for what I was in for.
I won't get too ahead of myself. This film clearly knows it's aspirations and when it hits the notes, the film has some moments of fun. A parkour chase is nicely done, and it was a damn good idea to place Idris Alba in the forefront of the film. But it's hard to get too excited by a film in which Hayden Christensen's role is only characterized by the fact he wears a hat.
In a film in which actors like the aforementioned Christensen and Paul Walker are rubbing shoulders, it would be good for the writers to gives their characters more personality. Stronger actors like Matt Dillon or Idris Alba can do much with little. A flat character played by Paul Walker? Almost a death note. There's also something to be said about giving someone like Zoe Salanda so little screentime. It's more than a bit of a waste.
As I said before, the film is sleek. Shot on what looks to be digital, it'll be a film that appears to have it's eye on blu-ray (understandable considering it's odd opening weekend release) and the film looks good and this is despite that annoying teal and orange colour grading that rears it's head once more. It's a good thing that the film is filmed as slick as it helps detract you from the plain "one more heist" story that plays out. Takers has a screenplay that plays as safe as possible so much so, that you know which of the half baked sub-plots will play out fully and which won't.
Takers will appeal to those who cannot miss yet another heist movie. But if you haven't seen The Town already, it's be better to see that on the big screen and wait for the blu-ray rental.
Director: John Luessenhop
Screenplay: Peter Allen, Gabriel Casseus, John Luessenhop, Avery Duff
Starring: Idris Alba, Paul Walker, Chris Brown, T.I, Matt Dillon, Hayden Christensen, Jay Hernandez, Zoe Saldana
It's great to watch films with different friends, cage their reactions and see what they found in the movie that you may have missed. After watching Takers with a good friend whose forgotten more about movies then I know, it was interesting to see what he found in the films architecture, influences and cinematography. He's also a bigger fan of the "B-movie" than I am, so his insight to it was quite worthwhile.
Unfortunately for me despite the clean, sleek look of the movie, the presence of some admirable actors and some nice action moments, Takers is pretty undistinctive. Having watched Ben Affleck create a solid (although cliched) genre piece the week before with The Town, maybe I'm being harsh on the film. However, by the time you see the criminal group of "Takers" walking in slow motion behind an exploding helicopter I had a good hankering for what I was in for.
I won't get too ahead of myself. This film clearly knows it's aspirations and when it hits the notes, the film has some moments of fun. A parkour chase is nicely done, and it was a damn good idea to place Idris Alba in the forefront of the film. But it's hard to get too excited by a film in which Hayden Christensen's role is only characterized by the fact he wears a hat.
In a film in which actors like the aforementioned Christensen and Paul Walker are rubbing shoulders, it would be good for the writers to gives their characters more personality. Stronger actors like Matt Dillon or Idris Alba can do much with little. A flat character played by Paul Walker? Almost a death note. There's also something to be said about giving someone like Zoe Salanda so little screentime. It's more than a bit of a waste.
As I said before, the film is sleek. Shot on what looks to be digital, it'll be a film that appears to have it's eye on blu-ray (understandable considering it's odd opening weekend release) and the film looks good and this is despite that annoying teal and orange colour grading that rears it's head once more. It's a good thing that the film is filmed as slick as it helps detract you from the plain "one more heist" story that plays out. Takers has a screenplay that plays as safe as possible so much so, that you know which of the half baked sub-plots will play out fully and which won't.
Takers will appeal to those who cannot miss yet another heist movie. But if you haven't seen The Town already, it's be better to see that on the big screen and wait for the blu-ray rental.
Friday, 1 October 2010
Review: Exam
Year: 2009 (2010 UK Theatrical Release)
Director: Stuart Hazeldine
Screenplay: Simon Garrity, Stuart Hazeldine
Starring: Colin Salmon, Jimi Mistry, Luke Mably
"I don't know if I liked that movie" says my girlfriend before she departs my house. I know the feeling. It's been over an hour since the credits of Exam rolled and I'm still undecided,.. Is it shot well? Yes. It is uniformly smart in it's appearance. Has it got a interesting premise? Yep. With the overall film feeling like a nod to the Canadian sci-fi flick Cube, the film has got a hook that could more than reel in a few genre fans. What about conflict? Sure. It has some moments of tension and the film does it's best with its one room local. But what was it that distanced me so much from this film not to embrace it enough even for thinking about a second viewing.
My answer is investment. As the film's plot delves deeper and deeper, I found myself becoming more frustrated. The stakes are high, but the characters are just too stoic, too unapproachable, 2-dimensional. It's hard to care about any of them as Hazeldine's film paints every character the same shade of grey. At no point do you feel one of the characters tugging at your emotions, or if they do, it's not enough for you to feel good/bad if your feeling of the outcome is right/wrong. As the characters flip flopped between being good or bad, at no point did I find myself actually caring about the outcome of these people. The loudest character is played ably enough by Luke Mably but the character is a prick, and not even a charming one at that.
I'd love to say more about the acting, but the combination of stiff dialogue and little known actors (expect 2 fairly standard displays by Colin Salmon and Jimi Mistry) do nothing to really win me over, and it's essential in a film like this to have your thoughts and apprehensions pulled all over the place by the characters actions. The lack of this tug of war game allows the film to coast on rails from it's eyebrow raising beginning when you hear all the rules, to the eventual outcome. In a film like this where all the characters are labeled by their most basic aspects of their character (the black guy is called black etc.) why wasn't more of this brought up to create a sense of tension? It could have been possible.
Unfortunately, there isn't enough in Exam for me to warrant a recommendation for everyone other than those who are really into those oddball features you wander past while looking for something else. The interest within the actual film is almost the same level as when you pick up the cover, scan the back, shrug and replace.
Director: Stuart Hazeldine
Screenplay: Simon Garrity, Stuart Hazeldine
Starring: Colin Salmon, Jimi Mistry, Luke Mably
"I don't know if I liked that movie" says my girlfriend before she departs my house. I know the feeling. It's been over an hour since the credits of Exam rolled and I'm still undecided,.. Is it shot well? Yes. It is uniformly smart in it's appearance. Has it got a interesting premise? Yep. With the overall film feeling like a nod to the Canadian sci-fi flick Cube, the film has got a hook that could more than reel in a few genre fans. What about conflict? Sure. It has some moments of tension and the film does it's best with its one room local. But what was it that distanced me so much from this film not to embrace it enough even for thinking about a second viewing.
My answer is investment. As the film's plot delves deeper and deeper, I found myself becoming more frustrated. The stakes are high, but the characters are just too stoic, too unapproachable, 2-dimensional. It's hard to care about any of them as Hazeldine's film paints every character the same shade of grey. At no point do you feel one of the characters tugging at your emotions, or if they do, it's not enough for you to feel good/bad if your feeling of the outcome is right/wrong. As the characters flip flopped between being good or bad, at no point did I find myself actually caring about the outcome of these people. The loudest character is played ably enough by Luke Mably but the character is a prick, and not even a charming one at that.
I'd love to say more about the acting, but the combination of stiff dialogue and little known actors (expect 2 fairly standard displays by Colin Salmon and Jimi Mistry) do nothing to really win me over, and it's essential in a film like this to have your thoughts and apprehensions pulled all over the place by the characters actions. The lack of this tug of war game allows the film to coast on rails from it's eyebrow raising beginning when you hear all the rules, to the eventual outcome. In a film like this where all the characters are labeled by their most basic aspects of their character (the black guy is called black etc.) why wasn't more of this brought up to create a sense of tension? It could have been possible.
Unfortunately, there isn't enough in Exam for me to warrant a recommendation for everyone other than those who are really into those oddball features you wander past while looking for something else. The interest within the actual film is almost the same level as when you pick up the cover, scan the back, shrug and replace.
Wednesday, 29 September 2010
Review: Exit through the Gift Shop.
Year: 2010
Director: Banksy
Screenplay: ?
Starring: Banksy, Thierry Guetta
Synopsis is here
Is it real? Is it fake? Is it all a big joke? It doesn't matter in the slightest because Banksy's "documentary" was really quite wonderful to my eyes. So much of it feels a little too "complete" to feel like an accurate documentation. However, in hindsight, that's not really the point, because what Exit wishes do is show street art at humble beginnings. Constantly he runs the line between when art becomes nothing but commerce before teasing the idea that the director is not a sell out...or is he? The film likes to play around with so much of it's content it's at times difficult to pinpoint how far the message turns into ego massaging.
But this is where the fun lies, as a documentary; it's a consistently watchable feature, charting the rise and peak of not only a niche culture(Graffiti now under the guise of "street art"), but of it's wildly eccentric subject in French Shopkeeper Thierry Guetta. Banksy melds intriguing personality with interesting premise effectively and at face value, what you have is well put together account of a very passionate man. Scratch the surface (or watch a couple of films) and the film is as authentic as the ten pound notes you see halfway through the film. But suddenly we realize that in playing the film out as fiction the message becomes clear.
Bansky's film takes what some considers an artform (graffiti) and not only documents it's craft, it's hazards and controversy (consider an updated style wars maybe) but it shows how the message and reasons behind these images (politics, humour, or just being noticed) can suddenly become lost when the calling of fame and celebrity come calling. In one moment former street artist Shepard Fairey (behind the now iconic Obama "hope" image) states "The more you see of an image, the more power it brings" and Banksy toys with this interesting theme with a layered sequence involving his own L.A installations. As Hollywood's finest stroll amongst the imagery, Banksy is actually at Disneyland inflating a Guantanamo Bay Air model prisoner beside one of the kids rides. When you are told that the many news presenters are reporting about the fact that a real elephant (covered in pink kid's hand paint) is displayed in a bedroom at the installation. The full stop on these two seemingly unrelated oddball exercises is the date: The anniversary of 9/11.
But it's not all about proverbial/literal elephants in the room, the film is constantly humorous in it's small moments as well. The comment of the old lady who sees Bansky's "murdered telephone" piece is a deceptively obvious yet amusing one, while Guetta's street art video will feel familiar to those who've had to suffer art and experiment video production at university or at least a bad skate video. The juxtaposition of street artists being stopped by cops while an art collector mentions later on that she got everyone to buy a Banksy also provides a knowing smile.
But the most interesting thing about Banksy film is it's director using a different artform for the first time to demonstrate how when an artform becomes a commodity, it's in danger of losing subjectivity and danger. By the time we reach the unveiling of Guetta's own pet art project "Mr brainwash" He also demonstrates how not everyone can just become an artist. It's brilliant to use street art as the background for such a them with it's roots in hip-hop, but Banksy's film is so universal in it's telling that comparisons can be utilized not only to hip-hop, but paintings and films themselves.
I've been quite indifferent to Banksy for the most part but in watching this I feel that as an artist i don't think the man has "sold out". I think like many people who get thrust in a public eye for truly doing something that people find interesting is trying to push different messages out in different forms while trying to keep that personality. Exit Through the Gift Shop may be a film but it invokes the same reckless spirit that Banksy's street paintings have.
Director: Banksy
Screenplay: ?
Starring: Banksy, Thierry Guetta
Synopsis is here
Is it real? Is it fake? Is it all a big joke? It doesn't matter in the slightest because Banksy's "documentary" was really quite wonderful to my eyes. So much of it feels a little too "complete" to feel like an accurate documentation. However, in hindsight, that's not really the point, because what Exit wishes do is show street art at humble beginnings. Constantly he runs the line between when art becomes nothing but commerce before teasing the idea that the director is not a sell out...or is he? The film likes to play around with so much of it's content it's at times difficult to pinpoint how far the message turns into ego massaging.
But this is where the fun lies, as a documentary; it's a consistently watchable feature, charting the rise and peak of not only a niche culture(Graffiti now under the guise of "street art"), but of it's wildly eccentric subject in French Shopkeeper Thierry Guetta. Banksy melds intriguing personality with interesting premise effectively and at face value, what you have is well put together account of a very passionate man. Scratch the surface (or watch a couple of films) and the film is as authentic as the ten pound notes you see halfway through the film. But suddenly we realize that in playing the film out as fiction the message becomes clear.
Bansky's film takes what some considers an artform (graffiti) and not only documents it's craft, it's hazards and controversy (consider an updated style wars maybe) but it shows how the message and reasons behind these images (politics, humour, or just being noticed) can suddenly become lost when the calling of fame and celebrity come calling. In one moment former street artist Shepard Fairey (behind the now iconic Obama "hope" image) states "The more you see of an image, the more power it brings" and Banksy toys with this interesting theme with a layered sequence involving his own L.A installations. As Hollywood's finest stroll amongst the imagery, Banksy is actually at Disneyland inflating a Guantanamo Bay Air model prisoner beside one of the kids rides. When you are told that the many news presenters are reporting about the fact that a real elephant (covered in pink kid's hand paint) is displayed in a bedroom at the installation. The full stop on these two seemingly unrelated oddball exercises is the date: The anniversary of 9/11.
But it's not all about proverbial/literal elephants in the room, the film is constantly humorous in it's small moments as well. The comment of the old lady who sees Bansky's "murdered telephone" piece is a deceptively obvious yet amusing one, while Guetta's street art video will feel familiar to those who've had to suffer art and experiment video production at university or at least a bad skate video. The juxtaposition of street artists being stopped by cops while an art collector mentions later on that she got everyone to buy a Banksy also provides a knowing smile.
But the most interesting thing about Banksy film is it's director using a different artform for the first time to demonstrate how when an artform becomes a commodity, it's in danger of losing subjectivity and danger. By the time we reach the unveiling of Guetta's own pet art project "Mr brainwash" He also demonstrates how not everyone can just become an artist. It's brilliant to use street art as the background for such a them with it's roots in hip-hop, but Banksy's film is so universal in it's telling that comparisons can be utilized not only to hip-hop, but paintings and films themselves.
I've been quite indifferent to Banksy for the most part but in watching this I feel that as an artist i don't think the man has "sold out". I think like many people who get thrust in a public eye for truly doing something that people find interesting is trying to push different messages out in different forms while trying to keep that personality. Exit Through the Gift Shop may be a film but it invokes the same reckless spirit that Banksy's street paintings have.
Sunday, 26 September 2010
Review: The Town
Year: 2010
Director: Ben Affleck
Screenplay: Aaron Stockard, Peter Craig, Ben Affleck
Starring: Ben Affleck, Jon Hamm, Rebecca Hall, Jeremy Renner, Blake Lively, Pete Postlethwaite, Chris Cooper
Synopsis is here
As an actor, Ben Affleck shouldn't star in movies beginning with the letter P (Paycheck, Pearl Harbour, Phantoms all terrible in their own special way). However as a director, he can take whatever he wants right now, as his second feature, The Town, is a solid crime drama with a rounded cast and well crafted set pieces.
The first thing I noticed about the film is it's sense of place, and how grounded everything feels. Affleck's confident direction manages to give us a strong grip of the setting and characters, from it's opening dialogue (detailing the notoriety of Charlestown, Boston), to it's no nonsense heist and chase set-pieces, the film's simply constructed scenes really show us how high the stakes are for those involved. One first glance you feels these characters have near to nothing, but it's that need to hold on to whatever they have that keeps the film interesting. Looks hide secrets, words have the right weight on them to feel loaded. Affleck's direction of the actors to convey these moments show that he clearly picked something up when he was on all those other film sets.
These performances are needed as they distracted me from the films story as unfortunately it is not the freshest thing on these years menu. It's one last job plot is a safe and rigid bet but it's also one that really doesn't say anything different. It's a safe rigid structure that isn't a bad thing but does little to sway me from other films that I own in my collection. A quick glance on the net before writing this had people uttering Heat in the same vicinity and while that's high praise indeed, quite simply that particular film has more to say. If there's a negative thing I have say about The Town, it's that until the final moments, it feels like it's on rails.
Unoriginal doesn't mean you cannot enjoy it, and The Town works by having a more than enough entertaining scenes. The opening heist has all the confusion and aggression of a bank robbery but also subtlety introduces us to certain aspects of the characters personalities. Two small (but well thought of) moments within that scene involve Affleck cutting from the action being seen in "real time" POV and switching to grainy black and white CCTV only allowing the quiet hiss of the recording keep us safe before jumping back into the visceral sequence taking place. Another scene features Jon Hamm's FBI Agent Frawley and Blake Lively's drugged out ex-girlfriend Krista playing out like a guy picking up a girl and ending up to be something else entirely. One of the strongest moments is a scene in which a moment of light conversation quickly ripples with tension due to the appearance of a tattoo. When elements like this play out, the film is really in it's element.
The ensemble cast is accurately chosen, and deliver the performances needed for a film like this. Veteran's such as Chris Cooper and Pete Postlethwaite give small but pivotal moments, while Jon Hamm and Blake Lively give watchable and fresh introductory performances for those who don't watch Mad Men or Gossip Girl respectively. Jeremy Renner once again shows his talents as the live wire Jem. This is a performance that in the wrong hands would have been an attention seeking display of OTT cheese but here, he places the right amount of damper on the trigger happy character to make sure that the danger is shown and not the hammy. Rebecca Hall has the right amount of vulnerability and honestly to care for her, while Affleck in the lead as the reluctant thief struggles slightly with some of the extended monologues, but gives an impressive presence which is not only imposing but also has ability to pull off a sense of calm.
The Town has a lot going for it. It's action gives a rush that was missing from one or two of the summer movies, the character moments work well the pace of the film build well and I was never bored. The film's ending however leaves me conflicted. as I'm not sure as if it's a cop out or not. It doesn't really ring true, this may be however due to the amount of sympathy related to our lead character. Affleck almost overreaches here trying to get me to feel for something that I don't think it's lead deserves.On another day I may have found it a complex conclusion as it strays slightly from what I expected. However looking back the final moments I found myself just a a little bit frustrated. Don't let that or it's relatively safe story sway you though, Affleck is a competent director and The Town is a well executed, adult, crime drama worth your notes for a ticket.
Director: Ben Affleck
Screenplay: Aaron Stockard, Peter Craig, Ben Affleck
Starring: Ben Affleck, Jon Hamm, Rebecca Hall, Jeremy Renner, Blake Lively, Pete Postlethwaite, Chris Cooper
Synopsis is here
As an actor, Ben Affleck shouldn't star in movies beginning with the letter P (Paycheck, Pearl Harbour, Phantoms all terrible in their own special way). However as a director, he can take whatever he wants right now, as his second feature, The Town, is a solid crime drama with a rounded cast and well crafted set pieces.
The first thing I noticed about the film is it's sense of place, and how grounded everything feels. Affleck's confident direction manages to give us a strong grip of the setting and characters, from it's opening dialogue (detailing the notoriety of Charlestown, Boston), to it's no nonsense heist and chase set-pieces, the film's simply constructed scenes really show us how high the stakes are for those involved. One first glance you feels these characters have near to nothing, but it's that need to hold on to whatever they have that keeps the film interesting. Looks hide secrets, words have the right weight on them to feel loaded. Affleck's direction of the actors to convey these moments show that he clearly picked something up when he was on all those other film sets.
These performances are needed as they distracted me from the films story as unfortunately it is not the freshest thing on these years menu. It's one last job plot is a safe and rigid bet but it's also one that really doesn't say anything different. It's a safe rigid structure that isn't a bad thing but does little to sway me from other films that I own in my collection. A quick glance on the net before writing this had people uttering Heat in the same vicinity and while that's high praise indeed, quite simply that particular film has more to say. If there's a negative thing I have say about The Town, it's that until the final moments, it feels like it's on rails.
Unoriginal doesn't mean you cannot enjoy it, and The Town works by having a more than enough entertaining scenes. The opening heist has all the confusion and aggression of a bank robbery but also subtlety introduces us to certain aspects of the characters personalities. Two small (but well thought of) moments within that scene involve Affleck cutting from the action being seen in "real time" POV and switching to grainy black and white CCTV only allowing the quiet hiss of the recording keep us safe before jumping back into the visceral sequence taking place. Another scene features Jon Hamm's FBI Agent Frawley and Blake Lively's drugged out ex-girlfriend Krista playing out like a guy picking up a girl and ending up to be something else entirely. One of the strongest moments is a scene in which a moment of light conversation quickly ripples with tension due to the appearance of a tattoo. When elements like this play out, the film is really in it's element.
The ensemble cast is accurately chosen, and deliver the performances needed for a film like this. Veteran's such as Chris Cooper and Pete Postlethwaite give small but pivotal moments, while Jon Hamm and Blake Lively give watchable and fresh introductory performances for those who don't watch Mad Men or Gossip Girl respectively. Jeremy Renner once again shows his talents as the live wire Jem. This is a performance that in the wrong hands would have been an attention seeking display of OTT cheese but here, he places the right amount of damper on the trigger happy character to make sure that the danger is shown and not the hammy. Rebecca Hall has the right amount of vulnerability and honestly to care for her, while Affleck in the lead as the reluctant thief struggles slightly with some of the extended monologues, but gives an impressive presence which is not only imposing but also has ability to pull off a sense of calm.
The Town has a lot going for it. It's action gives a rush that was missing from one or two of the summer movies, the character moments work well the pace of the film build well and I was never bored. The film's ending however leaves me conflicted. as I'm not sure as if it's a cop out or not. It doesn't really ring true, this may be however due to the amount of sympathy related to our lead character. Affleck almost overreaches here trying to get me to feel for something that I don't think it's lead deserves.On another day I may have found it a complex conclusion as it strays slightly from what I expected. However looking back the final moments I found myself just a a little bit frustrated. Don't let that or it's relatively safe story sway you though, Affleck is a competent director and The Town is a well executed, adult, crime drama worth your notes for a ticket.
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