Year: 2010
Director: Joseph Kosinski
Screenplay: Edward Kitsis, Adam Horowitz
Starring: Jeff Bridges, Garrett Hedlund, Olivia Wilde, Michael Sheen
Synopsis is here
Tron: Legacy is a quite a vapid feature. One wrapped in it's 28 year old history and brand name to keep it warm. Oh yes there's certain people who will think it's the best thing since sliced bread, but unfortunately some of these people who shout the loudest may have that horrid nostalgia effect playing with their judgment/emotions. Case in point the amusingly biased review from Jay Maynard (A.K.A Tron Guy) whose laments film critics and their reading of the film but has spent 28 years of his programming life waiting for this sequel. I really do not mean to cause offense in any way, that's not my style. However, when a guy who made net fame by making a tron suit states that this movie almost brought him to tears then you know that judgment is tipped in the brands favor.
Brand is the best word to describe Tron: Legacy because that really is the only thing going for it in my point of view. It's a film that really relies on it's name and what you've known before in order to get the most out of it. This is true for many sequels but with a gap between films that is older than myself and with some wondering if Disney are doing their best to hide the original film, we're left at in a bizarre limbo. Tron: Legacy hasn't got much of an entry point for new viewers, with much of the film talking about past events and techno babble as if everyone is on the same page. Unfortunately this is not Harry Potter 7, but a sequel on what is considered a modest hit almost 30 years ago the achieved cult status with the most important word being cult. For a $200 million film looking to make it's money back I was very surprised on the route this movie decided to take.
It's clear that the visuals are the main aspect of Tron: Legacy and director Joseph Kosinski has not only replicated the original films settings, but bolstered it to the what can only be considered as the most definitive Tron look. Kosinski who has said he's looked toward architecture to bring about the visuals gives us very interesting scenery to view throughout Tron: Legacy. Areas of the grid have a certain charm and the advancements of CGI have helped give everything the gloss a big budget movie like this needs. The problem for me is I really didn't care enough. If Tron: Legacy had an interesting story with some narrative drive and characters with at least some depth then we'd be in business. Kosinski isn't really using the visuals to tell the story; as they are there to show how pretty everything is. No anything narrative based is down to it's dull screenplay which is full of very uninteresting talk. It doesn't help that most of the film is full of this talk, with less action than one would expect. The lightcycles and flying discs were not my favorite film moments of the year, but were fun enough to provide a much needed distraction from it's "lets go to A to do B" screenplay.
Hints of interesting themes crop up at points, a moment in Flynn's off-grid home suggests that as creator, Flynn is also God. Clu as the creation picks up a sliver apple and thus implicates the idea of him as Adam and obviously original sin. I also liked the idea of Clu as an unknowingly fascist leader programmed to provide perfection but missing the vital fact that imperfection makes us who we are. The idea of lightcycle/discgames being futuristic gladiator-esque arenas is also an interesting element. While all this may sound a tad heavy (read: over thinking it), if Tron fully integrated these aspects into the film properly, I would have found the whole exercise a far more appealing one.
However, Tron: Legacy doesn't have time for such things (despite being 127 minutes long) as it's struggling to find a way to make Sam Flynn (Hedlund) an interesting person. With many films like this if you believe in the character, his stake and his goals, you believe in the world. I had no interest in Sam Flynn, nor his flat relationship with Quorra (Olivia Wilde) which is a shame as this lack of appeal dulls The Grids neon city. It's not really the fault of the actors as they don't have much to work with, however when watching Jeff Bridges and Micheal Sheen in the film who give do their best to illuminate their performances, you do see the gap in talent and experience. Case in point: Sheen is only on screen for around ten minutes and is still more memorable than most things within the movie.
For me Tron: Legacy was quite a forgettable experience all around. Another film that is quick to push CGI and 3D but less willing to provide an interesting storyline, strong dramatic conflict or appealing characters. I have an increasing sense of worry that soon; every December, we will be given a tent-pole, expensive, pretty release which will be marketed to death as it cannot afford to fail. I fret that these features will be hyped as the greatest thing since the last best thing but with only a different colour scheme to provide any difference. The early box office numbers have stated that Tron: Legacy is "on target" in financial terms, but from a personal point of view all I saw was what I can only describe as: Avatar's New Clothing.
Tuesday, 21 December 2010
Thursday, 16 December 2010
Review: Frozen
Year: 2010
Director: Adam Green
Screenplay: Adam Green
Starring: Shaun Ashmore, Emma Bell, Kevin Segers
Synopsis is here
Despite my interest in the genre, I haven't watched many horror films this year. Paranormal Activity 2? Could wait for the DVD. Saw 7? Stopped at Saw 5. A Serbian Film? Just came out in London and not spending that much on a ticket to see it. Despite coming with those half arsed excuses on why I haven't watched these movies; the main answer is clear: I just wasn't interested in that much this year. Some titles have aroused a certain amount of interest (The Ward, Human Centipede etc) but nothing really came out and grabbed me...Well, there was Black Swan but that's another story.
So distanced from the genre was I, that it was quite surprising I even bothered with Adam Green's Frozen. There wasn't anything in particular that made me want to see it other than it looks a bit different from the current slew of remakes and sequels baying for attention. It helps that Green himself appears to be an interesting horror director, with an affection to horror cinema that rivals one Eli Roth.
After the his debut slasher Hatchet, it seems that Green has decided to go in a very different direction for his next feature. A non-supernatural tale of survival horror; Frozen works on an very interesting premise. The idea of getting stuck on a sky-lift may not have crossed too many peoples minds for an idea for a horror film, however, Green pulls it off quite well with a generous amount of dread and likable characters to feel for. How everything comes off is far fetched, but still manages to give a certain amount of plausibility to it's universe.
One of the most interesting things I found about the movie is that; while here in England one of the biggest news stories going on is of course the student protests, Frozen reminded me of the kind of students I remember knowing and that I still see around town. One of the big themes here play on what we've seen before in many a slasher flick, in which know it all students with their casual deceits get more than they bargained for. It works a treat here. Our three leads have enjoyed not having to pay "top dollar" and getting a free ride, but the idea that human error and nature itself doesn't swing to these rules just gives this movie the right amount of cynicism to keep things ticking along. The idea that you shouldn't get anything for free runs not only through the films beginning, but also when the tension reaches peak (pun not intended) later on when pleasantries have turned into bitterness and then grief after the fate of one of the characters is ultimately decided.
Green keeps everything compact, keeping the action with these people and keeping the tension there with you. There's enough worry in the film that when the most outrageous element comes into play (Wolves) I generally wanted to know what would happen to these people. There's also pivotal moment that had me cringing with glee as it kept the stakes high enough.
I can't say the film stayed with me too long. As you can read, I have had a hard time writing about the feature. It's not something that I could even imagine many horror fans rushing out to watch again straight after their first viewing. But there's was enough in this to give the film a rent and possibly have a talk everything afterward. I enjoyed Ashmore's performance, liked Emma Bell enough and didn't disagree with Kevin Zegers too much. I also enjoyed the effects of the cold on these people as well as the banter (which turns into bitching). The visuals are fine and I can't say at any time I was bored. Full faith restored in horror films...still not seeing a lot on the horizon but with stuff like this coming out, I haven't lost loyalty completely.
Director: Adam Green
Screenplay: Adam Green
Starring: Shaun Ashmore, Emma Bell, Kevin Segers
Synopsis is here
Despite my interest in the genre, I haven't watched many horror films this year. Paranormal Activity 2? Could wait for the DVD. Saw 7? Stopped at Saw 5. A Serbian Film? Just came out in London and not spending that much on a ticket to see it. Despite coming with those half arsed excuses on why I haven't watched these movies; the main answer is clear: I just wasn't interested in that much this year. Some titles have aroused a certain amount of interest (The Ward, Human Centipede etc) but nothing really came out and grabbed me...Well, there was Black Swan but that's another story.
So distanced from the genre was I, that it was quite surprising I even bothered with Adam Green's Frozen. There wasn't anything in particular that made me want to see it other than it looks a bit different from the current slew of remakes and sequels baying for attention. It helps that Green himself appears to be an interesting horror director, with an affection to horror cinema that rivals one Eli Roth.
After the his debut slasher Hatchet, it seems that Green has decided to go in a very different direction for his next feature. A non-supernatural tale of survival horror; Frozen works on an very interesting premise. The idea of getting stuck on a sky-lift may not have crossed too many peoples minds for an idea for a horror film, however, Green pulls it off quite well with a generous amount of dread and likable characters to feel for. How everything comes off is far fetched, but still manages to give a certain amount of plausibility to it's universe.
One of the most interesting things I found about the movie is that; while here in England one of the biggest news stories going on is of course the student protests, Frozen reminded me of the kind of students I remember knowing and that I still see around town. One of the big themes here play on what we've seen before in many a slasher flick, in which know it all students with their casual deceits get more than they bargained for. It works a treat here. Our three leads have enjoyed not having to pay "top dollar" and getting a free ride, but the idea that human error and nature itself doesn't swing to these rules just gives this movie the right amount of cynicism to keep things ticking along. The idea that you shouldn't get anything for free runs not only through the films beginning, but also when the tension reaches peak (pun not intended) later on when pleasantries have turned into bitterness and then grief after the fate of one of the characters is ultimately decided.
Green keeps everything compact, keeping the action with these people and keeping the tension there with you. There's enough worry in the film that when the most outrageous element comes into play (Wolves) I generally wanted to know what would happen to these people. There's also pivotal moment that had me cringing with glee as it kept the stakes high enough.
I can't say the film stayed with me too long. As you can read, I have had a hard time writing about the feature. It's not something that I could even imagine many horror fans rushing out to watch again straight after their first viewing. But there's was enough in this to give the film a rent and possibly have a talk everything afterward. I enjoyed Ashmore's performance, liked Emma Bell enough and didn't disagree with Kevin Zegers too much. I also enjoyed the effects of the cold on these people as well as the banter (which turns into bitching). The visuals are fine and I can't say at any time I was bored. Full faith restored in horror films...still not seeing a lot on the horizon but with stuff like this coming out, I haven't lost loyalty completely.
Sunday, 12 December 2010
Review: Somwhere
Year: 2010
Director: Sophia Coppola
Screenplay: Sophia Coppola
Starring: Stephen Dorff, Elly Fanning, Chris Pointius
Synopsis is here
Somewhere has Stephen Dorff playing an actor broken both physically and mentally. After breaking his wrist in a drunken stumble we find him posing for marketing pictures with his female lead who detests him for his womanizing and partying with his equally immature friends. It's clear from the drinks, hotels and poledancing hotties that this man can pretty much do what he wants, and yet he is incredibly empty inside. We really shouldn't give a damn about a guy like this because he is living the life that we pay to read in those risible celeb rags. However, while it takes a bit to get there, Sophia Coppola manages draw out a certain amount of worth empathy for someone that we really shouldn't like.
Somewhere comes off like a prologue to Lost in Translation with Stephen Dorff's Johnny Marco heading towards the same stages of loneliness that Bill Murray's Bob had in Coppola's Award winning second feature. Marco despite being so popular lives in a life as fractured as his wrist. He gets anonymous texts which spit venom at him, his work life is a blurry haze of flashing lights and portentous questions from foreign journos. Coppola coming from such a life captures this bizarre other world with accuracy that only someone like herself could bring about. Many scenes brilliantly send up how artificial everything has become to Marco, so much so that he can only sit there and take it each day at a time..if he can remember which day it is. Highlights of this include a scene where Marco and his daughter Cleo in an Italian hotel; sit down to watch Friends in countries language. Neither know the language but it's familiarly gives the comfort. Another scene involves Marco sitting in a plaster cast to get a mold of his face. When the cast is taken off to reveal a mold of Marco as an aged man, his reaction is a Keanu like "whoa!" suggesting that only now he's released that one day his looks will fade. The scene also plays with the idea that Marco is masked and it'll only be at the end of his life he'll release that he's done nothing. Such moments are simple, but effective. Often they hit the mark a become quite touching.
This is all said without the main reason why we get behind Johnny Marco: his 11 year old daughter Cleo. A neatly level headed performance by Elly Fanning (counterbalancing the Dorff's laid back near adolescent behavior) is one that reminds us of her older sister Dakota. Wise beyond her years but enough childhood nativity and concern to give the movie restrained emotion the film needs. Two wonderfully telling moments include Fanning's Cleo joking with both her father and his friend Sammy and a quietly awkward "fake family" moment involving a disproving Cleo, Marco himself and one of his conquests. Scenes like this also show that Somewhere isn't without humor with scenes often being funnier than they should be.
Somewhere isn't without it's flaws. At first Coppola utilizes early scenes well to mark the frustration of the character and we too absorb the idea that the easy life is hard when the perks are repeated and money is no object. The problem is that Coppola draws out a few of these scenes too long for their own good and while they wish to be lyrical, they end up being more of an annoyance. It doesn't help that the film feels like it could have ended three times before it actually does. Others have stated a lack of character development within the film, which has an element of truth but also shows Coppola taking something that could have been quite saccharine and taking away the easy answers.
Somewhere has a wry eye on celebrity isolation and manages to crave out a subtly touching tale about someone we wouldn't like in real life losing touch with his own reality. We may not like to hear it but sometimes it's hard having the easy life.
Director: Sophia Coppola
Screenplay: Sophia Coppola
Starring: Stephen Dorff, Elly Fanning, Chris Pointius
Synopsis is here
Somewhere has Stephen Dorff playing an actor broken both physically and mentally. After breaking his wrist in a drunken stumble we find him posing for marketing pictures with his female lead who detests him for his womanizing and partying with his equally immature friends. It's clear from the drinks, hotels and poledancing hotties that this man can pretty much do what he wants, and yet he is incredibly empty inside. We really shouldn't give a damn about a guy like this because he is living the life that we pay to read in those risible celeb rags. However, while it takes a bit to get there, Sophia Coppola manages draw out a certain amount of worth empathy for someone that we really shouldn't like.
Somewhere comes off like a prologue to Lost in Translation with Stephen Dorff's Johnny Marco heading towards the same stages of loneliness that Bill Murray's Bob had in Coppola's Award winning second feature. Marco despite being so popular lives in a life as fractured as his wrist. He gets anonymous texts which spit venom at him, his work life is a blurry haze of flashing lights and portentous questions from foreign journos. Coppola coming from such a life captures this bizarre other world with accuracy that only someone like herself could bring about. Many scenes brilliantly send up how artificial everything has become to Marco, so much so that he can only sit there and take it each day at a time..if he can remember which day it is. Highlights of this include a scene where Marco and his daughter Cleo in an Italian hotel; sit down to watch Friends in countries language. Neither know the language but it's familiarly gives the comfort. Another scene involves Marco sitting in a plaster cast to get a mold of his face. When the cast is taken off to reveal a mold of Marco as an aged man, his reaction is a Keanu like "whoa!" suggesting that only now he's released that one day his looks will fade. The scene also plays with the idea that Marco is masked and it'll only be at the end of his life he'll release that he's done nothing. Such moments are simple, but effective. Often they hit the mark a become quite touching.
This is all said without the main reason why we get behind Johnny Marco: his 11 year old daughter Cleo. A neatly level headed performance by Elly Fanning (counterbalancing the Dorff's laid back near adolescent behavior) is one that reminds us of her older sister Dakota. Wise beyond her years but enough childhood nativity and concern to give the movie restrained emotion the film needs. Two wonderfully telling moments include Fanning's Cleo joking with both her father and his friend Sammy and a quietly awkward "fake family" moment involving a disproving Cleo, Marco himself and one of his conquests. Scenes like this also show that Somewhere isn't without humor with scenes often being funnier than they should be.
Somewhere isn't without it's flaws. At first Coppola utilizes early scenes well to mark the frustration of the character and we too absorb the idea that the easy life is hard when the perks are repeated and money is no object. The problem is that Coppola draws out a few of these scenes too long for their own good and while they wish to be lyrical, they end up being more of an annoyance. It doesn't help that the film feels like it could have ended three times before it actually does. Others have stated a lack of character development within the film, which has an element of truth but also shows Coppola taking something that could have been quite saccharine and taking away the easy answers.
Somewhere has a wry eye on celebrity isolation and manages to crave out a subtly touching tale about someone we wouldn't like in real life losing touch with his own reality. We may not like to hear it but sometimes it's hard having the easy life.
Review: The Tourist
Year: 2010
Director: Florian Henckel von Donnersmarck
Screenplay: Florian Henckel von Donnersmarck, Christopher McQuarrie
Starring: Angelina Jolie, Johnny Depp
Synopsis is here.
As with many films these days; The Tourist is of course a remake, but as most people haven't even heard of the original film, it manages to get away with all that nasty outrage that a Let me in gets. I find this to be a little unfortunate as this film with it's popular stars and gloss will get less of a drubbing than some of it's more known retreads. I guess it's because I wish for a just world in where if someone is going to bitch at America for it's lack of ideas, I hope they do the research on all the films going and rightly lambaste all the movies and not just the ones they know about and like. They should also remember it goes both ways, and they should really check out some Turkish features. Quite simply, imitation is the most sincere form of flattery.
Shame I found The Tourist to be a bore.
Despite a wealth of writing, acting and directing* talent, much like an adolescent relationship making love for the second time; the whole situation leaves you frustrated and strangely unsatisfied. That's not the best visual metaphor I've used for describing a movie, however if what I said made you crack even the slightest grin then you had more fun then, than I did in the entirety of this movie. It's not for lack of trying as it's clear that Angelina Jolie is using all her feminine charms to give the film some kind of allure, while Johnny Depp does that lower end Depp act he does when he's not bringing out his best work and together it should work.
However, it's hard for them as they are fighting a pointless story. It's bad enough that the direction isn't strong enough to distract me from the naff plot points and the clear Deus Ex Machina moments (Poor Timothy Dalton), but the simple fact that the reasons behind the films whole narrative are so weak makes the whole thing an incredible waste of time. I found myself asking, is that really why we're going round the houses? It almost makes the shenanigans in Knight and Day seem straightforward and level-headed.
Can the chemistry between main performers take my mind off all of this? Can it fuck. You don't believe in their relationship for one second, mostly because Depp is hilariously miscast. Depp could take many peoples girlfriends away with a wink, so you'd think the film would do it's best to make him the schlub that they wish us to believe. It seems the reaction to that thought is? Why bother? This is a film that just wants two good looking people in exotic places on screen, who needs chemistry to give the make shift story at least feel like it had a chance?
If there is any good points about then film, I will say that the speedboat set piece does what it can to give the illusion of fun and some of the dialogue exchanges aren't bad for what they are. But really, is that all I can take from this movie? Unfortunately yes.
This is for purists only. Fans of the leads who can talk at length about how great Secret Window is, or quote you the entire script of Life or something like it. To others, they may find it more substantial to rewatch the Bourne trilogy again.
Director: Florian Henckel von Donnersmarck
Screenplay: Florian Henckel von Donnersmarck, Christopher McQuarrie
Starring: Angelina Jolie, Johnny Depp
Synopsis is here.
As with many films these days; The Tourist is of course a remake, but as most people haven't even heard of the original film, it manages to get away with all that nasty outrage that a Let me in gets. I find this to be a little unfortunate as this film with it's popular stars and gloss will get less of a drubbing than some of it's more known retreads. I guess it's because I wish for a just world in where if someone is going to bitch at America for it's lack of ideas, I hope they do the research on all the films going and rightly lambaste all the movies and not just the ones they know about and like. They should also remember it goes both ways, and they should really check out some Turkish features. Quite simply, imitation is the most sincere form of flattery.
Shame I found The Tourist to be a bore.
Despite a wealth of writing, acting and directing* talent, much like an adolescent relationship making love for the second time; the whole situation leaves you frustrated and strangely unsatisfied. That's not the best visual metaphor I've used for describing a movie, however if what I said made you crack even the slightest grin then you had more fun then, than I did in the entirety of this movie. It's not for lack of trying as it's clear that Angelina Jolie is using all her feminine charms to give the film some kind of allure, while Johnny Depp does that lower end Depp act he does when he's not bringing out his best work and together it should work.
However, it's hard for them as they are fighting a pointless story. It's bad enough that the direction isn't strong enough to distract me from the naff plot points and the clear Deus Ex Machina moments (Poor Timothy Dalton), but the simple fact that the reasons behind the films whole narrative are so weak makes the whole thing an incredible waste of time. I found myself asking, is that really why we're going round the houses? It almost makes the shenanigans in Knight and Day seem straightforward and level-headed.
Can the chemistry between main performers take my mind off all of this? Can it fuck. You don't believe in their relationship for one second, mostly because Depp is hilariously miscast. Depp could take many peoples girlfriends away with a wink, so you'd think the film would do it's best to make him the schlub that they wish us to believe. It seems the reaction to that thought is? Why bother? This is a film that just wants two good looking people in exotic places on screen, who needs chemistry to give the make shift story at least feel like it had a chance?
If there is any good points about then film, I will say that the speedboat set piece does what it can to give the illusion of fun and some of the dialogue exchanges aren't bad for what they are. But really, is that all I can take from this movie? Unfortunately yes.
This is for purists only. Fans of the leads who can talk at length about how great Secret Window is, or quote you the entire script of Life or something like it. To others, they may find it more substantial to rewatch the Bourne trilogy again.
Monday, 6 December 2010
Review: Monsters
Year: 2010
Director: Garteh Edwards
Screenplay: Garteh Edwards
Starring: Scoot McNairy, Whitney Able
Synopsis is here
I know someone, somewhere is whining about Monsters because "there's hardly any monsters!". To that person I say read film reviews. So many people love to gripe about film reviews because "they have their own opinion" However, other than the fact that reading others view can re-enforce your own conceptions and understanding on matters (be it politics or films), they also warn about certain things like THAT TITLE I ALLEGORY AND THAT TRAILER IS LIES! Ahem, sorry.
Yes once again, the trailer of the film is used to try and sell something it's not and those looking for the next Cloverfield may find themselves a little confused. The title is one of those blatant misleads that reminds one of those old twilight zone episodes. Oh yes there are monsters....and they ain't who you think! etc. Such a tactic may be seen a mile off for a disgruntled cynical cinephile; but with that said, Monsters has more to say than a slight nod to old school sci-fi. It is an interesting movie that helps continue this trend of recent sci-fi that not only utilizes it's CGI in an interesting (and cheap) way but presents an thoughtful (although slightly obvious) metaphor about how we view the alien other.
Much has said about the films cost and it's computer graphics so I'll be brief with this. The film not only looks gorgeous but just just as expensive as say War of the Worlds. Monsters cost $500,000 while Spielberg's 2005 feature cost $130 million but at times you'll be hard pressed to see how big that gulf really is. It is quite clear that Visual effects artist-cum Director Gareth Edwards knows what he's doing with CGI, with his digital shots looking better than some of the weaker efforts seen in other films. But what sets Edwards apart is he has a good hold a certain amount of cinematic language. His shots of the (rarely seen) aliens are mostly at night; not only show the capability of his CGI, But to remind us that it's things that bump in the night that still unsettle us the most. His use of location is also well considered. Like District 9 (2007), the film is enhanced by it's setting. It's not a typical urban landscape that we see constantly in films like this, but something that is also still quite alien to those who may or may not watch art-house features which delve into the central Americas more than often.
It is the location that sets up the metaphor splendidly. At a time when certain voices are highlighting that a change in ethnicity may approaching the U.K and the U.S. It's pretty revealing that Edwards decides that it is in Mexico (where recent troubles have reared their head involving the state of Arizona) that no only the majority of the film takes place but also where we as an audience discover the the conflicting nature of these beings. I won't say any more, but think of it like Solaris (1972 & 2002) where intent to harm collides with communication.
Lets not get this ahead of ourselves however, as in some ways comparing Edwards to Tarkovskiy is extraordinarily naive. But while there films bounce around in a similar ballpark at points, Edwards is a filmmaker who is seemingly more in touch with his contemporaries than anyone else. All this talk about aliens and least we forget that this is really a romantic road movie, with it's use of setting and characters feeling more a mixture Y Tu Mama Tambien and Lost in Translation more than anything else. When Edwards' camera is focused on the smaller moments (a visit to a 400 year old church is nicely put together) these particles of culture and character work extremely well. These creatures no longer cause large impact on the world, they have been assimilated into part of it. These two leads are now finding new parts of themselves within this background and the combination of the old and new shows the film at it's most watchable.
It's a shame that while these moments stand out Edwards shows that he is more than a little rough around the edges with other aspects. Monsters (mostly improvised) screenplay is full of forced dialogue with one unfortunate moment having the lead spell out much of underlying subtext upon viewing America's new great wall. Also as a romance I can't say that the meandering pace of the love story and the small chit chat make me believe in the central relationship much. This may be because I've been forced fed sickly sweet rom-coms since mainstream cinema gave up on trying to give us anything different, but with all that said, I didn't just truly buy it.
This is not due to the two wide eye performances of the leads with Scoot McNairy being the standout. It is his character that is given the most development and he runs with it well, with the films more emotional moments stemming from him. This is not to say that Whitney Able's role isn't any less important, it is merely more subdued. The two are more than natural in front of the camera it's just together in this vicinity the real life couple are just a tad too restrained when together.
But this doesn't distract Monsters from being a eye-opening opener. It is beautiful to look at and the film's commentary is not only topical but competently placed through out. Edwards has come out alongside Duncan Jones (Moon) as a Brit director whose view on the sci-fi aesthetic is more than the mere superficial. Whether or not or not a mainstream audience can look beyond the title is a different story.
Director: Garteh Edwards
Screenplay: Garteh Edwards
Starring: Scoot McNairy, Whitney Able
Synopsis is here
I know someone, somewhere is whining about Monsters because "there's hardly any monsters!". To that person I say read film reviews. So many people love to gripe about film reviews because "they have their own opinion" However, other than the fact that reading others view can re-enforce your own conceptions and understanding on matters (be it politics or films), they also warn about certain things like THAT TITLE I ALLEGORY AND THAT TRAILER IS LIES! Ahem, sorry.
Yes once again, the trailer of the film is used to try and sell something it's not and those looking for the next Cloverfield may find themselves a little confused. The title is one of those blatant misleads that reminds one of those old twilight zone episodes. Oh yes there are monsters....and they ain't who you think! etc. Such a tactic may be seen a mile off for a disgruntled cynical cinephile; but with that said, Monsters has more to say than a slight nod to old school sci-fi. It is an interesting movie that helps continue this trend of recent sci-fi that not only utilizes it's CGI in an interesting (and cheap) way but presents an thoughtful (although slightly obvious) metaphor about how we view the alien other.
Much has said about the films cost and it's computer graphics so I'll be brief with this. The film not only looks gorgeous but just just as expensive as say War of the Worlds. Monsters cost $500,000 while Spielberg's 2005 feature cost $130 million but at times you'll be hard pressed to see how big that gulf really is. It is quite clear that Visual effects artist-cum Director Gareth Edwards knows what he's doing with CGI, with his digital shots looking better than some of the weaker efforts seen in other films. But what sets Edwards apart is he has a good hold a certain amount of cinematic language. His shots of the (rarely seen) aliens are mostly at night; not only show the capability of his CGI, But to remind us that it's things that bump in the night that still unsettle us the most. His use of location is also well considered. Like District 9 (2007), the film is enhanced by it's setting. It's not a typical urban landscape that we see constantly in films like this, but something that is also still quite alien to those who may or may not watch art-house features which delve into the central Americas more than often.
It is the location that sets up the metaphor splendidly. At a time when certain voices are highlighting that a change in ethnicity may approaching the U.K and the U.S. It's pretty revealing that Edwards decides that it is in Mexico (where recent troubles have reared their head involving the state of Arizona) that no only the majority of the film takes place but also where we as an audience discover the the conflicting nature of these beings. I won't say any more, but think of it like Solaris (1972 & 2002) where intent to harm collides with communication.
Lets not get this ahead of ourselves however, as in some ways comparing Edwards to Tarkovskiy is extraordinarily naive. But while there films bounce around in a similar ballpark at points, Edwards is a filmmaker who is seemingly more in touch with his contemporaries than anyone else. All this talk about aliens and least we forget that this is really a romantic road movie, with it's use of setting and characters feeling more a mixture Y Tu Mama Tambien and Lost in Translation more than anything else. When Edwards' camera is focused on the smaller moments (a visit to a 400 year old church is nicely put together) these particles of culture and character work extremely well. These creatures no longer cause large impact on the world, they have been assimilated into part of it. These two leads are now finding new parts of themselves within this background and the combination of the old and new shows the film at it's most watchable.
It's a shame that while these moments stand out Edwards shows that he is more than a little rough around the edges with other aspects. Monsters (mostly improvised) screenplay is full of forced dialogue with one unfortunate moment having the lead spell out much of underlying subtext upon viewing America's new great wall. Also as a romance I can't say that the meandering pace of the love story and the small chit chat make me believe in the central relationship much. This may be because I've been forced fed sickly sweet rom-coms since mainstream cinema gave up on trying to give us anything different, but with all that said, I didn't just truly buy it.
This is not due to the two wide eye performances of the leads with Scoot McNairy being the standout. It is his character that is given the most development and he runs with it well, with the films more emotional moments stemming from him. This is not to say that Whitney Able's role isn't any less important, it is merely more subdued. The two are more than natural in front of the camera it's just together in this vicinity the real life couple are just a tad too restrained when together.
But this doesn't distract Monsters from being a eye-opening opener. It is beautiful to look at and the film's commentary is not only topical but competently placed through out. Edwards has come out alongside Duncan Jones (Moon) as a Brit director whose view on the sci-fi aesthetic is more than the mere superficial. Whether or not or not a mainstream audience can look beyond the title is a different story.
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