Year: 2012
Director: Ice-T
I came out of Ice-T's documentary to have my ears burn from younger viewers who were in the screening. "That film was full of dinosaurs!" referring to the aged but still prominent rap stars that graced the film moments before. I found the statement slightly frustrating as the younger hip-hop "fans" had clearly missed the point of the film. T's film is about the craft of being an emcee, and while the film features many artists that still preform, there is no point garnering info from younger artists who haven't spent enough time "in the game" to give you anything meaty enough for the subject. But then again I let the statement slide as the same young guns were making shadow puppets with their hands during the end credits. Clearly some of the films finer points where lost on them.
The Art of Rap is to Emceeing, that Scratch was to DJ's and Style Wars was to Graffiti. An important look at the craft of hip hop songwriting from people who know it intimately. It has one foot left in the past because the people interviewed are the people who truly shaped the form. Ice T is looking at the subject at the very foundations.
This isn't to say that T gets everyone that needs to be on such a list. It's odd to see a film like this without the likes of someone like LL Cool J (Feuding with Ice T aside), Busta Rhymes and only seeing Raekwon from the Wu Tang Clan. It's also little disheartening to notice only two female emcees holding it down, while one of the biggest questions that I left on my lips was "where was Jay?" But beggars can't be choosers when the roster is still a Smörgåsbord of talent. A film like this is still worth watching for two minutes of Rakim and Immortal Technique free styling.
The Art of Rap is exactly what I'd expect from an Ice T film. The art of rap is full of bombastic head nodding beats, slow motion shots of the man himself and birds eye copter shots of the various cities the film visits. T clearly wants to show the scope and slickness of the production and it's there for all to see. I can't say all of Ice T's choices work; his narration isn't the best, while the fact he is in almost very shot of the film, sometimes distracts (the ego monster does rear it's head). However, the latter point is dependant of which interviewee he is with. Moments shared with some of the emcees are both insightful and hilarious. Top scenes include Krs-one's reason for becoming a rapper. Nas' sociopolitical reasoning behind rap not being on the same level as Jazz or Blues. Ras Kass touches on why his lyrics are so complex ("The only people who have the time to listen are people in college or prison"). Chuck D and Run DMC on being who they were at the time they were.
The thing is I could go on and on. The people T got involved with the project all have a nugget of gold for the audience. Redman and T muse on the fact that out of all the rappers out there, it's Eminem that towers amongst them. This then cuts to Eminem unleashing a freestyle in his studio, before mimicking T himself (listen to how his rhyme flow and timing change with ease). At one point Joe Budden raps about the hood over visuals of New York projects. It could easily be a small video in itself. These are just a few of the moments in which T's film excels. It gets the subject perfectly, it captures the artists at the right moment and being rappers they nearly always have the right thing to say.
The film does have its flaws. It is baggy. Spending so much time in New York help showcase the musics history and savvy of some of the Emcees but not all of it is essential. T's questioning becomes slightly repetitive, asking similar questions to various people. It's understandable, but it does limit some of the scope. The distinct lack of female voices (only MC Lyte and Salt from Salt n Pepa appear) highlight one of raps larger issues involving women. The film may also be difficult for those who aren't into hip-hop to except the more spiritual excepts from the likes of Common and Snoop Dogg (really). It's particularly hard when you've just seen Grandmaster Caz reel off a ton of bars (lines) all ending with the word nigga. There's also the strange issue of the interviewees becoming brighter, much more relaxed and open when the film hits L.A. The reasoning behind this is mystifying.
But it's not at all disabling. The film is far too quotable and funny to let it's small issues weigh it down. The Art of Rap, coming off the back of A Tribe called Quests documentary last year is showing Hip-Hop as the large cultural aspect it is. To watch how these writers perfect and perform their material is a marvel to watch. The stories they tell are constantly engaging and the approach and tone towards the material fits like a glove. The Art of Rap isn't a powerful documentary, but it's one that really gives hip hop the platform it deserves. The younger generation may only be interested in the new movers and shakers, but Ice T's film shows just how solid the foundations are.
Sunday, 22 July 2012
Friday, 20 July 2012
Review: The Dark Knight Rises
Year: 2012
Director: Christopher Nolan
Screenplay: Christopher and Jonathan Nolan
Starring: Christain Bale, Tom Hardy, Gary Oldman, Anne Hathaway, Joseph Gordon Levitt, Morgan Freeman, Micheal Caine
So it's here. The Film that most people have made their mind up on has finally dropped. My thoughts on the furore that has transpired before (critics recieving death threats for bad reviews etc) are quite simple. If you believe someone should die because they don't share the same opinion on a film as you, anonymous or not, you've displayed that you are a simpleton. My only question to you is, why be so quick to show that? It is worrying you may have a job and work with people, while harbouring such views. Help is needed. Case closed.
Most of Nolan's films have relied on obsessive personalities who clash despite being either side of the same coin. That the people in play are so obsessed with a particular subject that they themselves don't see how close to each others edge they are, or how blurred the lines have become. The Dark Knight's (2008) comparisons to Micheal Mann's Heat (1995) are not just in stylistic choices but their themes. These men that "do work" are not only co-dependant on each other they are almost one and the same. This has always made Nolan's characters engaging to me.
This is the crawl space where Nolan's latest film, The Dark Knight Rises, is at most effective. When the film focuses on the ideals of these characters, and how fractured they could become, I was fully engaged. Bane as a physical presence is the match against Batman that one would expect. However it's the intellectual pursuit that pushes the film above more common affair. Like what came before for it, there is a fight for the soul of Gotham city. Issues of trust, control and resources flitter in and out of this large scale blockbuster, and while Nolan doesn't usually state too much when it comes to the political intent of his movies, this film seemingly wears its relatively conservative morals on its sleeve. The film however isn't simplistic, tubthumping piece. It does go deeper. Everyone has a little red in their ledger, and the effects of what came to play before have taken their toll.
This is not just in the physical aspect. Eight years since the events of The Dark Knight, we see a different Bruce Wayne. Not only is he less limber as before, he is now a person who has let his personal malaise infiltrate his mind. Such pain for what he has lost as allowed negligence to fester in the minds of those in the privileged circles that a man like Wayne run in. To some this will remind them of the boom days before 2008. In comes Bane, a Tyler Durden-style agent of fear. More calculated then what was seen before, and twice as hungry. With him he bring not only an army of have nots, but the fearful ideals of the past that Wayne strived to alter and evolve.
Like the two previous films The Dark Knight Rises main plot is once again, in essence another simple terrorist act. This could be considered, to some, as a hindrance. Nolan's 2008 sequel The Dark Knight, had a focus on pure chaos that felt, darker and more troubling than here. Heath Ledgers Joker brought forth an unpredictability that truly stood out amongst the three films. Chaos for the sake of chaos, felt more damming and dangerous than here in which a feeling of history repeating itself looms over the concluding act. Rises connects itself a lot more to the 2005 Batman Begins than it's predecessor. This isnt a bad thing, as the film ties itself with the series well as a whole. However it is hard to feel as excited as ultimately they films screenplay has to find a heap of convolution in order to make things appear as things have progressed.
The films main weakness is in its structure. We are brought back into the world and characters well enough, however some of its storytelling feels lacking. Lots of characters, lots of motivations, but not all feel needed. Once or twice, scenes just don't have the weight I expected, with one character relationship feeling a little out of sorts. I must also add that Nolan will get away with one or two moments of awkward exposition and pacing issues that another filmmaker could have got crucified for in a "lesser" film. mostly because as the fanboys have clearly shown, it's "Batman" and it's "perfect" even if they haven't seen the movie. I myself will let some things slide, partly because Nolan is so assured with his direction of proceedings. By the time we reach the final destination, Nolan brought me fully round, with many of my issues feeling like the nitpicks they are.
The Dark Knight Rises for me the film works best when the ideology comes into play. When the obsession is in the forefront. Wayne's inability to trust those around him. Bane's grandstanding oratory on "liberation". The effects of what Gordon did eight years ago, and how that weighs on him (call this Smiley-lite). All done for the name of justice. When you pull out and look at the big picture, Nolan's themes are extremely lofty and the tone is set perfectly. The scope is epic in size and although it wobbles like a spin top at times, the ambition is overwhelming and execution is more than admirable.
To carry all this on their shoulders, is a strong ensemble cast. Hardy's Bane is a grand display of dominance. Forget that his voice sounds like Sean Connery in the underwater sets of Thunderball. His presence is missed when he is not on the screen. A calculating and sardonic persona only matched with his hulking physicality. Ledger's Joker was always going to be difficult to top, but Hardy doesn't put a foot wrong. I love the performance. Bale gives a more subdued display, with smaller emotional beats, however as Wayne/Batman has more to do in terms of range, you see why Bale was picked. It is his strongest performance of the three films. Micheal Caine gives emotional heft, while Morgan Freeman expands on his Fox role. Hathaway, who was given the most grief when picked as Catwoman/Selena Kyle absolutely shines here. Her sarcastic, devil may care approach to the role shows that she is just as fearless as Ledger was four years ago. Joseph Gordon Levitt maintains a good level of work while Gary Oldman needs no more plaudits.
The creaky link is in newcomer Marion Cotillard who suffers as her character feels underwritten until much later on, when it feels too late. Once the story reveals itself more, it's hard not to feel that the role is a tad wasted. Juno Temple also appears in a limited role that means well but adds little.
The swansong feels long but it doesn't bore. I didn't find the set pieces as thrilling as The Dark Knight but they hold their physicality well. The film as a whole puts forth an interesting and board view point on capitalism and tries its best to answer. It succeeds for the most part, but it accomplishes more with how it deals with internal pain. It doesn't have the manufactured emo navel gazing of The Amazing Spiderman. What it strives for it does so earnestly. It allow many elements of the series to come full circle and paints an elegant picture of what can be done with comic source material when used the right way.
Upon leaving, I realised that not only hadn't I touched the rest of my popcorn (half a large left), I had also knocked it over and spilt it without noticing. That to me is a good sign of how I felt about the movie. I will be watching The Dark Knight Rises once more with friends to embrace what I may have missed. This is how a movie fan should show their affection to the cause. With love and dedication to the material, not bile or hatred to others. A hater hates. A lover watches.
Note: The some of this review was written before the tragic events in Colorado. May peace find those involved at such a difficult time.
Director: Christopher Nolan
Screenplay: Christopher and Jonathan Nolan
Starring: Christain Bale, Tom Hardy, Gary Oldman, Anne Hathaway, Joseph Gordon Levitt, Morgan Freeman, Micheal Caine
So it's here. The Film that most people have made their mind up on has finally dropped. My thoughts on the furore that has transpired before (critics recieving death threats for bad reviews etc) are quite simple. If you believe someone should die because they don't share the same opinion on a film as you, anonymous or not, you've displayed that you are a simpleton. My only question to you is, why be so quick to show that? It is worrying you may have a job and work with people, while harbouring such views. Help is needed. Case closed.
Most of Nolan's films have relied on obsessive personalities who clash despite being either side of the same coin. That the people in play are so obsessed with a particular subject that they themselves don't see how close to each others edge they are, or how blurred the lines have become. The Dark Knight's (2008) comparisons to Micheal Mann's Heat (1995) are not just in stylistic choices but their themes. These men that "do work" are not only co-dependant on each other they are almost one and the same. This has always made Nolan's characters engaging to me.
This is the crawl space where Nolan's latest film, The Dark Knight Rises, is at most effective. When the film focuses on the ideals of these characters, and how fractured they could become, I was fully engaged. Bane as a physical presence is the match against Batman that one would expect. However it's the intellectual pursuit that pushes the film above more common affair. Like what came before for it, there is a fight for the soul of Gotham city. Issues of trust, control and resources flitter in and out of this large scale blockbuster, and while Nolan doesn't usually state too much when it comes to the political intent of his movies, this film seemingly wears its relatively conservative morals on its sleeve. The film however isn't simplistic, tubthumping piece. It does go deeper. Everyone has a little red in their ledger, and the effects of what came to play before have taken their toll.
This is not just in the physical aspect. Eight years since the events of The Dark Knight, we see a different Bruce Wayne. Not only is he less limber as before, he is now a person who has let his personal malaise infiltrate his mind. Such pain for what he has lost as allowed negligence to fester in the minds of those in the privileged circles that a man like Wayne run in. To some this will remind them of the boom days before 2008. In comes Bane, a Tyler Durden-style agent of fear. More calculated then what was seen before, and twice as hungry. With him he bring not only an army of have nots, but the fearful ideals of the past that Wayne strived to alter and evolve.
Like the two previous films The Dark Knight Rises main plot is once again, in essence another simple terrorist act. This could be considered, to some, as a hindrance. Nolan's 2008 sequel The Dark Knight, had a focus on pure chaos that felt, darker and more troubling than here. Heath Ledgers Joker brought forth an unpredictability that truly stood out amongst the three films. Chaos for the sake of chaos, felt more damming and dangerous than here in which a feeling of history repeating itself looms over the concluding act. Rises connects itself a lot more to the 2005 Batman Begins than it's predecessor. This isnt a bad thing, as the film ties itself with the series well as a whole. However it is hard to feel as excited as ultimately they films screenplay has to find a heap of convolution in order to make things appear as things have progressed.
The films main weakness is in its structure. We are brought back into the world and characters well enough, however some of its storytelling feels lacking. Lots of characters, lots of motivations, but not all feel needed. Once or twice, scenes just don't have the weight I expected, with one character relationship feeling a little out of sorts. I must also add that Nolan will get away with one or two moments of awkward exposition and pacing issues that another filmmaker could have got crucified for in a "lesser" film. mostly because as the fanboys have clearly shown, it's "Batman" and it's "perfect" even if they haven't seen the movie. I myself will let some things slide, partly because Nolan is so assured with his direction of proceedings. By the time we reach the final destination, Nolan brought me fully round, with many of my issues feeling like the nitpicks they are.
The Dark Knight Rises for me the film works best when the ideology comes into play. When the obsession is in the forefront. Wayne's inability to trust those around him. Bane's grandstanding oratory on "liberation". The effects of what Gordon did eight years ago, and how that weighs on him (call this Smiley-lite). All done for the name of justice. When you pull out and look at the big picture, Nolan's themes are extremely lofty and the tone is set perfectly. The scope is epic in size and although it wobbles like a spin top at times, the ambition is overwhelming and execution is more than admirable.
To carry all this on their shoulders, is a strong ensemble cast. Hardy's Bane is a grand display of dominance. Forget that his voice sounds like Sean Connery in the underwater sets of Thunderball. His presence is missed when he is not on the screen. A calculating and sardonic persona only matched with his hulking physicality. Ledger's Joker was always going to be difficult to top, but Hardy doesn't put a foot wrong. I love the performance. Bale gives a more subdued display, with smaller emotional beats, however as Wayne/Batman has more to do in terms of range, you see why Bale was picked. It is his strongest performance of the three films. Micheal Caine gives emotional heft, while Morgan Freeman expands on his Fox role. Hathaway, who was given the most grief when picked as Catwoman/Selena Kyle absolutely shines here. Her sarcastic, devil may care approach to the role shows that she is just as fearless as Ledger was four years ago. Joseph Gordon Levitt maintains a good level of work while Gary Oldman needs no more plaudits.
The creaky link is in newcomer Marion Cotillard who suffers as her character feels underwritten until much later on, when it feels too late. Once the story reveals itself more, it's hard not to feel that the role is a tad wasted. Juno Temple also appears in a limited role that means well but adds little.
The swansong feels long but it doesn't bore. I didn't find the set pieces as thrilling as The Dark Knight but they hold their physicality well. The film as a whole puts forth an interesting and board view point on capitalism and tries its best to answer. It succeeds for the most part, but it accomplishes more with how it deals with internal pain. It doesn't have the manufactured emo navel gazing of The Amazing Spiderman. What it strives for it does so earnestly. It allow many elements of the series to come full circle and paints an elegant picture of what can be done with comic source material when used the right way.
Upon leaving, I realised that not only hadn't I touched the rest of my popcorn (half a large left), I had also knocked it over and spilt it without noticing. That to me is a good sign of how I felt about the movie. I will be watching The Dark Knight Rises once more with friends to embrace what I may have missed. This is how a movie fan should show their affection to the cause. With love and dedication to the material, not bile or hatred to others. A hater hates. A lover watches.
Note: The some of this review was written before the tragic events in Colorado. May peace find those involved at such a difficult time.
Tuesday, 17 July 2012
Review: God Bless America
Year: 2011 (U.K Release 2012)
Director: Bobcat Goldthwait
Screenplay: Bobcat Goldthwait
Starring: Joel Murray, Tara Lynne Barr and Mackenzie Brooke Smith.
Synopsis is here
Former stand up comedian; Bobcat Goldthwait's satire is a simple one. The targets are as plain as the nose on it's face. This is not a problem for me. I enjoyed many of the barbs the film hurls, as most of the time the film ranges from moderately to highly funny. Goldthwait's jabs at loosely based parodies of neo-con political commentators, American Idol and trashy reality shows are warmly welcomed. In fact the main conceit, in which a man goes postal due to the ugly cynicism being fed to him (and everyone else) by media outlets and the like, is the sort of wish-fulfilment fantasy that must be gaining more patrons by the day. Goldthwait tries to up the stakes by giving us a central relationship, that is given the same type of troublesome affection, usually reserved of the likes of Todd Solondz. Once again no real issue here.
However, much like Goldthwait's previous feature World's Greatest Dad (2009), God Bless America is quite the one note affair, and unlike it's predecessor, is a little too scatter shot to remain truly remarkable. The anger seems to be there. Goldthwait's film gives us a very strong motif that follows us throughout the film.Diana Ross' Theme from Mahogany is heard throughout, being poorly sung by an X-factor wannabe laying out the intent as clear as day. Is this quagmire of lowest common denominator pap, where we wish to be lead? Living as products of fear with only the antics of fame hungry nitwits to make us feel better about ourselves?
Goldthwait sets the path out quickly and assuredly, the parodies and idleness of the masses are right on the money at the start. The ironic moment in which our protagonist; Frank (a neatly sad sacked Joel Murray), is fired for an extremely decent gesture, amidst a crowd of wage salves guffawing over the last nights sneering T.V show hits home with a wit that's sand paper dry. The absurdity feels far too plausible.
For a while it doesn't let up. A PG rated Sweet sixteen style show, in which, the birthday girl is screeching swear words at her parents for getting the wrong car, is layered on by Frank's own daughter mimicking the same bratty attitude over the phone. When Goldthwait gets it right, he gets it right.
That is until the movie hits the road, and the cold blooded killing starts. Where the energy should rise, it falls. Slowing for characters spout dialogue that feels more like a stand up comedian's rantings than something that comes out naturally. It's not that I don't agree some some of the points, it's more that it sits awkwardly within the film. Goldthwait moves more towards the central relationship between the middle aged Frank and the teenage Roxy. The sweetness between the wannabe Bonnie and Clyde doubles, but the focus lessens the easy targets become quite thinly spread and the film slowly loses it's bite.
Any real complexity stems from the character of Roxy (an energetic Tara Lynne Barr) whose reasons for joining Frank give the film a shot in the arm late on, when we find out that Goldthwait has nowhere else to direct the rage. Television is one of the villains. Not just in the film but outside too as the antics of Charlie Brooker's Dead Set (2008) and Black Mirror (2012), are far more focused affairs that are just as black but far more rewarding. Goldthwait should however get full marks for his efforts. Barr donning an imagery that evokes Brenda Ann Spencer, and the films all out final moments provide more interesting hints of Goldthwaits outlook and anger. Such venom however, still needs discipline to be truly affective.
Director: Bobcat Goldthwait
Screenplay: Bobcat Goldthwait
Starring: Joel Murray, Tara Lynne Barr and Mackenzie Brooke Smith.
Synopsis is here
Former stand up comedian; Bobcat Goldthwait's satire is a simple one. The targets are as plain as the nose on it's face. This is not a problem for me. I enjoyed many of the barbs the film hurls, as most of the time the film ranges from moderately to highly funny. Goldthwait's jabs at loosely based parodies of neo-con political commentators, American Idol and trashy reality shows are warmly welcomed. In fact the main conceit, in which a man goes postal due to the ugly cynicism being fed to him (and everyone else) by media outlets and the like, is the sort of wish-fulfilment fantasy that must be gaining more patrons by the day. Goldthwait tries to up the stakes by giving us a central relationship, that is given the same type of troublesome affection, usually reserved of the likes of Todd Solondz. Once again no real issue here.
However, much like Goldthwait's previous feature World's Greatest Dad (2009), God Bless America is quite the one note affair, and unlike it's predecessor, is a little too scatter shot to remain truly remarkable. The anger seems to be there. Goldthwait's film gives us a very strong motif that follows us throughout the film.Diana Ross' Theme from Mahogany is heard throughout, being poorly sung by an X-factor wannabe laying out the intent as clear as day. Is this quagmire of lowest common denominator pap, where we wish to be lead? Living as products of fear with only the antics of fame hungry nitwits to make us feel better about ourselves?
Goldthwait sets the path out quickly and assuredly, the parodies and idleness of the masses are right on the money at the start. The ironic moment in which our protagonist; Frank (a neatly sad sacked Joel Murray), is fired for an extremely decent gesture, amidst a crowd of wage salves guffawing over the last nights sneering T.V show hits home with a wit that's sand paper dry. The absurdity feels far too plausible.
For a while it doesn't let up. A PG rated Sweet sixteen style show, in which, the birthday girl is screeching swear words at her parents for getting the wrong car, is layered on by Frank's own daughter mimicking the same bratty attitude over the phone. When Goldthwait gets it right, he gets it right.
That is until the movie hits the road, and the cold blooded killing starts. Where the energy should rise, it falls. Slowing for characters spout dialogue that feels more like a stand up comedian's rantings than something that comes out naturally. It's not that I don't agree some some of the points, it's more that it sits awkwardly within the film. Goldthwait moves more towards the central relationship between the middle aged Frank and the teenage Roxy. The sweetness between the wannabe Bonnie and Clyde doubles, but the focus lessens the easy targets become quite thinly spread and the film slowly loses it's bite.
Any real complexity stems from the character of Roxy (an energetic Tara Lynne Barr) whose reasons for joining Frank give the film a shot in the arm late on, when we find out that Goldthwait has nowhere else to direct the rage. Television is one of the villains. Not just in the film but outside too as the antics of Charlie Brooker's Dead Set (2008) and Black Mirror (2012), are far more focused affairs that are just as black but far more rewarding. Goldthwait should however get full marks for his efforts. Barr donning an imagery that evokes Brenda Ann Spencer, and the films all out final moments provide more interesting hints of Goldthwaits outlook and anger. Such venom however, still needs discipline to be truly affective.
Cinematic Dramatic 4x07 - Killer Joe
Woah there buddy, you might want to put the chicken down. Boulton and Byron have seen Killer Joe and it's finger-licking good....but not in that way. Also, Spider-Man's amazing return is reviewed without the glitter.
via GeekPlanetOnline: Cinematic Dramatic http://www.geekplanetonline.com/hosting/originals/dramatic/?p=episode&name=2012-07-17_cinematic_dramatic_4x07__killer_joe.mp3
Monday, 16 July 2012
Review: The Amazing Spiderman
Year: 2012
Director: Marc Webb
Screenplay: James Vanderbilt, Alvin Sargent, Steve Kloves
Starring: Andrew Garfield, Emma Stone, Martin Sheen, Rhys Ifans, Sally Field
Synopsis is here, but also here, with parts here also.
A friends Facebook status gave the kind of sharp review of The Amazing Spiderman that most people respond to these days. In a world where 140 characters seemly affect people in a more direct way than essays and articles, labelling the film as "utter gash" will obtain way more response than whatever dross I vomit up in this blog.
While I don't fully agree with his analysis, I know that the next time we sink some tins of tyskie, I do feel we'll both agree that The Amazing Spiderman is as unnecessary as the 3D glasses I had to take to the cinema to wear. It's bad enough that that once again, 3D does little to prove its worth for a tent pole release. But the fact that the film that the effect is attached to can't make up its mind on whether it's an actual reboot or otherwise, provides a certain amount of disenchantment.
The Amazing Spiderman really does feel like a product of a company clinging onto the franchise. Sony don't appear desperate (product placement aside). However, the films needless demand to once again show us how Spiderman got to be, does little to change the fact that the film is a contrivance. The lack of ideas continue as without Sam Raimi (Script issues, unmoving release date), recycled bits of the original plans look like they've been slotted awkwardly into wherever fits. It also feels like they've spent too much time wondering what Warner Brothers were doing with DC material.
In hiring Marc Webb, we've been given 500 days of Spiderman Begins. A film which spends most of it's time targeting the high angst of the teen characters and mimicking the slightly grittier tone that The Dark Knight made its own. But while Christopher Nolan successfully crafted a comic book series that spliced its pulp roots the director's own obsessions, TAS comes to us a bit of a hodge podge. The film makes a bigger push of Peter Parker's powers as a metaphor for teen growing pains. But all the images of a hooded brooding Parker acting all Nirvana, reminded me of the reason I enjoyed Raimi's films in the first place. In fact it's something that Joss Wheedon's Avengers remembered; it's ok to have fun with these heroes.
The problem is that The Amazing Spiderman spends just so much time navel gazing, that I lost what I found so engaging from before. Raimi's Spidermans were board and a little bit silly, but they didn't feel like they had to hide that. In fact, they fully embraced it, reminding me of the 90's cartoon series that I grew up with. There was just more vibrancy originally.
This isn't to say Webb's film is a travesty. I'm sure TAS, has its fans who read more comics than me who can honestly say it's closer to the version they expected the first time around. Webb brings some interesting visuals to the table, and while the performances don't feel as earnest as those that have come before it, they're certainly stronger in other areas. The chemistry between Andrew Garfield and Emma Stone is charming, while placing Martin Sheen in the Uncle Ben role was a well played stroke. It's quite clear that Webb's strength is in the interactions of the actors.
Unfortunately, this doesn't stabilize the films awkward plotting and general poor usage of characters. Other than being the first love of Peter Parker, the film isn't sure of what to do with Gwen Stacy, while the plot thread involving Uncle Ben is dropped quicker than a hot potato. Why reboot this aspect, if Peter isn't going to be that bothered with it soon afterwards? Elsewhere, Rhys Ifans tries to update Brundlefly for the twilight generation, but unfortunately is given a villain that lacks the creepiness of Willem Defoe's Green Goblin or the pathos of Alfred Molina's Doctor Octopus. Much like the film's action set pieces, Ifans' villain struggles to escape the shadow that Raimi has cast.
Still, I say this while the film made a killing at the box office (although knocked off the top spot in the U.K by Ice Age 4 as of posting this). This only helps the film disprove the idea that people desperately want original films. But in counting the amount the Xperia phone shots that hang from this tent pole. It seems to me that Sony's belief that branding is best in this cinematic world is correct when the numbers are that good. Money talks.
Director: Marc Webb
Screenplay: James Vanderbilt, Alvin Sargent, Steve Kloves
Starring: Andrew Garfield, Emma Stone, Martin Sheen, Rhys Ifans, Sally Field
Synopsis is here, but also here, with parts here also.
A friends Facebook status gave the kind of sharp review of The Amazing Spiderman that most people respond to these days. In a world where 140 characters seemly affect people in a more direct way than essays and articles, labelling the film as "utter gash" will obtain way more response than whatever dross I vomit up in this blog.
While I don't fully agree with his analysis, I know that the next time we sink some tins of tyskie, I do feel we'll both agree that The Amazing Spiderman is as unnecessary as the 3D glasses I had to take to the cinema to wear. It's bad enough that that once again, 3D does little to prove its worth for a tent pole release. But the fact that the film that the effect is attached to can't make up its mind on whether it's an actual reboot or otherwise, provides a certain amount of disenchantment.
The Amazing Spiderman really does feel like a product of a company clinging onto the franchise. Sony don't appear desperate (product placement aside). However, the films needless demand to once again show us how Spiderman got to be, does little to change the fact that the film is a contrivance. The lack of ideas continue as without Sam Raimi (Script issues, unmoving release date), recycled bits of the original plans look like they've been slotted awkwardly into wherever fits. It also feels like they've spent too much time wondering what Warner Brothers were doing with DC material.
In hiring Marc Webb, we've been given 500 days of Spiderman Begins. A film which spends most of it's time targeting the high angst of the teen characters and mimicking the slightly grittier tone that The Dark Knight made its own. But while Christopher Nolan successfully crafted a comic book series that spliced its pulp roots the director's own obsessions, TAS comes to us a bit of a hodge podge. The film makes a bigger push of Peter Parker's powers as a metaphor for teen growing pains. But all the images of a hooded brooding Parker acting all Nirvana, reminded me of the reason I enjoyed Raimi's films in the first place. In fact it's something that Joss Wheedon's Avengers remembered; it's ok to have fun with these heroes.
The problem is that The Amazing Spiderman spends just so much time navel gazing, that I lost what I found so engaging from before. Raimi's Spidermans were board and a little bit silly, but they didn't feel like they had to hide that. In fact, they fully embraced it, reminding me of the 90's cartoon series that I grew up with. There was just more vibrancy originally.
This isn't to say Webb's film is a travesty. I'm sure TAS, has its fans who read more comics than me who can honestly say it's closer to the version they expected the first time around. Webb brings some interesting visuals to the table, and while the performances don't feel as earnest as those that have come before it, they're certainly stronger in other areas. The chemistry between Andrew Garfield and Emma Stone is charming, while placing Martin Sheen in the Uncle Ben role was a well played stroke. It's quite clear that Webb's strength is in the interactions of the actors.
Unfortunately, this doesn't stabilize the films awkward plotting and general poor usage of characters. Other than being the first love of Peter Parker, the film isn't sure of what to do with Gwen Stacy, while the plot thread involving Uncle Ben is dropped quicker than a hot potato. Why reboot this aspect, if Peter isn't going to be that bothered with it soon afterwards? Elsewhere, Rhys Ifans tries to update Brundlefly for the twilight generation, but unfortunately is given a villain that lacks the creepiness of Willem Defoe's Green Goblin or the pathos of Alfred Molina's Doctor Octopus. Much like the film's action set pieces, Ifans' villain struggles to escape the shadow that Raimi has cast.
Still, I say this while the film made a killing at the box office (although knocked off the top spot in the U.K by Ice Age 4 as of posting this). This only helps the film disprove the idea that people desperately want original films. But in counting the amount the Xperia phone shots that hang from this tent pole. It seems to me that Sony's belief that branding is best in this cinematic world is correct when the numbers are that good. Money talks.
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