CubeRic9000's Reviews

The Girl with the Dragon Tattoo (2011)

5/10

31 December 2011

I have seen the Swedish film, now this English speaking version, but never read the book. At first I was reluctant to see this version, as I enjoyed the Swedish one, but David Fincher was enough to convince me it would be worth a try.

There were a few standout points, namely the style and cinematography. It really is a wonderful film to look at, and has Fincher's acclaimed attention to detail throughout. He really has put a lot of work into this, and it shows. And with this type of story, it is hard to think of a current day director that would be more suitable. The opening credits are also worthy of a mention. It's like watching a Chris Cunningham music video, spawned from the mind of H.R. Giger. Not sure if it gels with the film entirely, but was impossible to look away. The score also is one of the best points. Trent Reznor does a magnificent job, creating a mood and intensifying a scene. Combined with a well produced sound design, it is great for the ears. As for performances, I thought Daniel Craig came across well.

Whilst watching this film and since leaving the cinema, I have found it impossible to not compare this English version to its Swedish predecessor. Even when consciously trying to watch it with a clean slate, you can't help but consider comparisons. So with that in mind, I have found Fincher's version to be a disappointment. I did not get hooked in at all, and as great as it was for the eyes, I was urging the credits to roll.

Firstly the character Lisbeth Salander played by Rooney Mara. I thought she was so much less engaging than Noomi Rapace's portrayal. At times I actually found her character to be quite overstated in certain scenarios, particularly the over-choreographed bag snatch scene on the escalator. With Noomi's version, there was an eerie undercurrent and imperfection to her character, whereas with Rooney's, being bad seems too perfect in its execution. This type of overproducing, and trying so hard to make it sleek, really took away from the realism of the characters and more importantly the story. With the Swedish one it was gritty, dark, and real. They were far from perfect characters in situations out of their depth. With Fincher's version, the characters tend to feel too exaggerated.

The narrative also was slow at times, then way too quick at others points. For example it's partly a study of Lisbeth Salander and Mikael Blomkvist current lives for the first half hour to an hour, and does tend to drag. Even still, you learn nothing as to why Lisbeth is the way she is. So they don't know each other, then bang, they are working together. We do see how they get introduced, but the processed is rushed through. I remember the way they come across each other in the Swedish version as being rather important and enjoyable to watch unfold. Their relationship in the Swedish version also grew in a believable sense, and was genuine, however with this English version, it seems so forced. Especially the intimate scenes, they just seem to occur for no good reason. They are quickly squeezed in, then back to the mystery.

If you haven't seen the Swedish version, Fincher's version would probably satisfy. It may be closer to the book, this I am unsure. And perhaps Rooney Mara's turn at Lisbeth Salander would impress. But for me, I have to recommend the original Swedish film by a long way. I think the script has a lot to answer for here as it seems unbalanced, and even with a long duration, it still feels like there are important points that are left out or glossed over. I know it can be somewhat cliché to state it, especially in a scenario such as this, but I can't help but think that in a lot of ways this story has been distorted by the Hollywood system. The product placement is a testament to that, and as for the Nine Inch Nails shirt, for some reason it annoyed me more than it ever should (surely Reznor didn't suggest this?). Nevertheless his contribution was worthy of note, and Fincher has made a good looking film here, and really undertaken a courageous act in making this story around two years after the highly successful Swedish version. The comparisons were always going to be part and parcel of how this version was received. Unfortunately, for me, it just does not come close.

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War Horse (2011)

5/10

Come for the horses

28 December 2011

War Horse is the type of story where Steven Spielberg really shines. It has the potential for cinematic spectacle, the elementary emotional drama with convenient ebbs and flows, and the simplicity in narrative to reach audiences of all ages. The film's premise lies in a boy's love for his horse, and his longing to be reunited with it, after it has been taken away on war duty. The story however benefits from focusing not on the boy or any human character, but the horse itself, as we follow it throughout its life, as it personifies its own characteristic traits, and endeavours to survive at all costs.

The horse, or more so horses, are the true stars of this film, and their beauty and strength is captured with genuine authenticity and grace. The cinematography achieves this through glorious shots that put you alongside, between, and above the horses, whilst at full gallop. They are breathtaking angles that take you in so close, that you feel the power of every stride, the tension on the muscles, and the thunderous sound of hooves smashing the ground.

Aside from the cinematography deployed in the action sequences, the rest of film does not offer a lot. The performances achieve what's needed, and the story is straightforward and easy to understand. It does at times feel rushed as circumstances are almost pressed for time. For example new characters are regularly introduced throughout the horse's war time experiences, and each soldier or civilian garners an instant affinity with the horse. This feels somewhat questionable on the surface, but becomes a little comical, as each person who comes across the horse, falls for it, then has it taken away just as quickly, as if to keep the story moving on. It works on an imaginative level to represent somewhat of an aura with the horse, but the way characters are introduced and then dismissed from the film soon after, feels a bit like a production line.

While I hoped for perhaps something more unique or less predictable, it doesn't really unfold with War Horse. It's a film that anyone could watch, as there is nothing really challenging here. It has all the essential ingredients that make a good family movie, from the likable characters, to the loyal and majestic horse. It has a grandiose score, sweeping landscape shots, and a colour thats easy on the eye, but by its close gets a little too fantastical. It shows triumph over adversity, picking its moments for some light situational humour, then wraps it all up with a feel good closure. The scenes of the film where the horses are at their most spectacular, really outshine anything else on offer here. They are the centre of this film, and as a consequence are put through what at times looked liked an extremely demanding role, that is somewhat questionable. But that aside, what is most evident is that the horses work harder than anyone in this, and at the very least deserve the pedestal Spielberg's film puts them on.

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Another Earth (2011)

3/10

Just Another Earth

17 December 2011

Another Earth took on a rather unique and complex idea, but failed to deliver. When you don't care about characters or where a story is going, it is hard to engage, and afterwards, difficult to spend time reflecting on. It feels like a story that tried to encompass so much, more than it ever could, and the result is a lack of development on all fronts.

Firstly, there is a severe lack of character development. I understand that there are times where little to no dialogue can be effective, but for the first part of this film, I was anxiously waiting for someone to converse. I wanted to know who the characters were, especially the protagonist Rhoda, played by Brit Marling. She is placed at the centerpiece of the story, as we witness her cause a fatal car crash, and follow her struggle to deal with the guilt and inner turmoil. This seems to be the main narrative, with the discovery of another Earth being a welcome distraction with real possibilities to change her life for the better. But along the way, the film begins to jumble up what its main point is, and what it is trying to tell.

There seems to be way too many strands of narrative within the one film. Rhoda's character definitely is the focal point of the movie, but why specifically. Sometimes it is to witness her restarting life after such a horrific event. Then at other times it is to find some retribution through helping and getting to know the main victim of the car crash. Then it also seems to portray a soul lost in life, looking to find solace in a newly discovered Earth, and the questions surrounding it. Not only Rhoda, but there is times where John, the car crash victim, provides an entirely new narrative, as we watch him try to rebuild his life, and the influence Rhoda has on it, as he tries to become who he was before. Maybe I missed the point, and maybe all these things are relevant and work together. But for me, it was trying to say way too much in too little time. The movie portrays so many lines of storytelling, all while the first discovery of life outside of Earth is talked about as if it's not that surprising. This type of other worldly phenomenon can play out as an interesting influence on a very human story, but here it just left me confused about what was the real point.

Another Earth has a concept that gets you in, but feels so underdone. It is at a lost to what it really wants to be, and has moments of decisive awkwardness and dubious situations, particularly with Rhoda's emotionless deadpan family, and Rhoda and John's relationship. It's a film that will no doubt have its followers, but generally speaking, leaves little to like, which unfortunately becomes all the more evident, next to the stiff competition of recent times. Another Earth didn't leave me frustrated or annoyed, just nonchalant. It is a terrific try at a tall tale, where its playfulness with ideas, left a noticeable lack of conviction.

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Melancholia (2011)

8/10

The realism of suffering, in a life that's far from perfect

5 December 2011

As Melancholia's closing credits begin to roll, nobody moves. You all wait for the customary credit music to start up, which it eventually does after a lengthy silence, and then breathe a sigh of relief. Maybe because making noise and exiting is now a real possibility, but honestly, it's more in response to having just taken in an intense and highly cinematic closing shot.

Melancholia is an emotionally engaging and profound experience. Since those closing credits rolled, I have gone from just liking this film, to appreciating the true scope of it, and as a result, have a strong desire to see it again very soon. It's an appreciation that has come about through reflection, considering the challenging theme it chooses to tackle, and the unique story with which it uses as a platform. Having never seen a Lars Von Trier film before, I had no preconceived expectation on style or substance. But after reading a short synopsis that sounded intriguing, and even more so, being drawn in by such an ethereal yet beautifully surreal poster, it became a must see.

The film opens with a stunning sequence that is set in the story's near future, and could be seen as somewhat of a spoiler for the film's main drama, that being the threat that a planet may collide with Earth. But as this is far from your average end of the world movie, it works to enhance the narrative that follows. The sequence is a few shots, slowed right down to almost frozen moments in time, letting one's eyes drift through each image, much like a painting. These shots draw similarities to other film's this year which have shown nature at its most dynamic. But with this there is purpose, you feel the engagement, as you realise the event, and watch the tragedy at its peak, whilst being in awe of the spectacle and the enchanting way it has been composed.

From here the film is presented in two parts, each titled after the two sisters, Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg). Part one of the film focuses on Justine, and her wedding day, before the threat of a planet hitting Earth has been discovered. Claire and her husband John (Kiefer Sutherland) have put a tremendous amount of effort and money into Justine's wedding day, yet at the reception the bride struggles to remain happy and interested in the formalities. What is not immediately noticeable but becomes evident, is that Justine suffers from depression, and Kirsten Dunst plays it out perfectly. Putting on a fake smile, and pretending like nothing's wrong, even though it can't really be hidden. She is a soul lost in the illness. Cleverly the film presents depression without it becoming the focal point. It almost has an affective presence on the narrative, like it does a person, draining the story of its ability to be happy with all things perfect.

For the second part of the film, the imminent threat of a planet hitting and destroying Earth, becomes the centerpiece of the story, and is played out on a such a personal level, that it is very affecting. Claire becomes the focus, as she lives with John, her son, and a sick Justine, in a cottage on its own golf course, some distance from the local town. The isolation that is created by the location, means the outside world is somewhat non-existent. It is just four people, all with their own fears and emotional instabilities, reacting in entirely contrasting ways, to what could be the end of their life. It becomes a character study of sorts, as the human reaction is amplified, by the isolated circumstances. It uniquely made the threat so much more real, as the cliché of doom and gloom news reports, and shots of worldwide panic, were omitted, or probably never considered. It was so refreshing and added so much to the reality of the situation.

Melancholia is a highly ambitious film. It portrays the quiet suffering that is mental illness in a very real and damaging way, accompanying it with an end of the world scenario that can't help but be taken very seriously. Somehow, Lars Von Trier has been able to juxtapose two completely different topics together, so it is a seamless cohesion. It is a sad film no doubt, but it seems to simply represent a type of life that really exists. A life where things may be achievable, but a mental illness such as depression holds one back. The end of the world scenario facing a character suffering depression, brought to the fore the very real fact, that for no apparent reason, some people live far from enjoyable lives, that cruelly so it seems, are cut short before having any chance of improving. It's a subject that may be tough to watch, but is worth recognising, and in this film, feels so real. Best of all, it will have you thinking on numerous levels come the close.

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We Need to Talk About Kevin (2011)

6/10

Watching Kevin go to work

26 November 2011

We Need To Talk About Kevin is a film that's good, but I struggled to really enjoy. This is purely down to the subject matter, and that it is so sinister and delivered with realism. For some reason I had a pre-conceived idea that it would teeter on the edge of black comedy, being serious, yet dabbling in humour every so often to lighten the mood. Well this couldn't be further from the truth. Even when something does happen that maybe slightly humorous, unintentionally so it seems, it feels wrong to laugh. And although the mood may lighten for a second, it never lasts long. It is a heavy drama to watch.

The film opens with a modular disjointed narrative form, which consequently throws a viewer off balance, but wisely it tends to regain a slightly more linear form shortly after and through the entire duration. The story is rather straightforward and simple on the surface, allowing the viewer to delve as deep as they want into the questioning of why Kevin is the way he is. This is a nice touch, as it doesn't try to tie up loose ends, or drop hints so that it all clicks. It is never really explained, and in some ways is not as obvious as it may seem. So it remains up to the individual, and their own subjective interpretation of the story, and I guess values to some extent, to make up his or her own mind.

For me, We Need To Talk About Kevin was all about the performances. Tilda Swinton as Eva (Kevin's mother), and Kevin as a toddler and child, were the standouts. A lot has been said about Tilda's performance and I mostly agree. I doubt it will be Oscar worthy, but it is definitely one of her best achievements. She really does seem to be tormented throughout, and I imagine it was a very draining role, which I think is evident and only works to make her character on screen, all the more convincing. She strikes a delicate balance between being a good mother, and a bad mother, that you never really know if you are completely on her side. I think this is a great accomplishment, as it would have been quite easy to slip into innocent victim mode, which she really is painted as, but the depth in her performance, keeps one pondering that there may be more to it, and never totally convinced.

The death stares of Kevin (at all ages), towards his mother, are somewhat devilish. It's almost like you are waiting for the child to morph into some demonic version of himself (ala The Exorcist, Omen), but it never happens, which only helps to add to the insanity of watching a child possessing such an ever-present hatred for his mother. It makes the whole thing uneasy from beginning to end, which is the obvious intention, and also part of the reason this at times could be seen as a horror film. However, I have to mention how much I enjoyed the closing scene, as I really wasn't expecting that type of dynamic shift to be thrown up right at the end. I found Eva and Kevin's hug to be coated in symbolism, lead by their facial expressions and the strength with which one party embraces the other. Its connotations are not overtly obvious, and I probably interpret it different from the next person, but for me it added a lot to the film. Otherwise I think I would have left feeling pretty bare about the whole thing.

One thing I am left to wonder however, is if this film would have been a lot more intriguing had I not known a substantial piece of the plot. A lot of critic reviews and synopses, drop a massive part of the story, and I can't help but feel it would have been better not to know, so the narrative's build to the finale is more encompassing. Instead everything was too easily comprehendible, always understanding people's actions and key scenes, without the need for too much interpretation or questioning. The fact that this plot element is never said or shown explicitly for the majority of the film, as all we witness are the resulting reactions, I can't help but think that the intention was for you as a viewer to work it out in your own time. But surely this cannot be the case, as if it is, then it's a massive oversight when creating publicity for this film. Reviews and some synopses are at the eye of the beholder though I guess, so maybe it is an accidental trip up that the producers never saw coming.

Regardless, We Need To Talk About Kevin is a good watch, unique story, with great performances. A film that it wouldn't hurt to be in the right mood for, and prepared for some loaded content. Kevin has chalked up he's name as an impressive film villain, if you see it that way.

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Drive (I) (2011)

8/10

Silence never sounded so good

24 November 2011

Drive captivated my senses from beginning to end, and left me overwhelmed by its execution. The satisfaction comes from the detail. Every aspect of the film has been carefully considered.

The mood created for the story is superb. It is a dark gritty LA, where criminalisation is undertaken with the utmost professionalism (similar to Heat). Its film noir darkness, Scorcese stylised ultra-violence, and the Michael Mann driving/aerial cityscapes, all pay homage to great genre films of the past. But Drive still retains its own identity. The story is played out with real intensity. The characters all garner the audience's attention, and there is no dull moments or padded scenes, as every interaction, every piece of dialogue, works to propel the story forward, and harness one's interest.

The protagonist of the film, Ryan Gosling, is the ultimate anti-hero. You have a real affinity with him, and always sense his power and underlying good nature. Gosling's character uses barely any dialogue, and only opens his mouth when absolutely necessary. His ability to listen intently whilst taking in his surrounds, never feeling the need to speak just for the sake of it, is refreshing, and can't help but be admired. He is slick without the need for style, cool without intention, and dangerous to anyone that challenges his abilities, values, or his simple desire to set things right. He is one of the most appealing film characters in some time, and Gosling's portrayal is exquisite.

My favourite part of the film was the sound design. As soon as you hear that first hum of Gosling's car engine from the inside, I was hooked. Eliminating the outside street noise, and focusing solely on the sounds from inside a vehicle, had the ability to personalise the reality of a getaway driver. The hum of the engine, the ticking of the watch, the radio commentary, the nervous fiddling, along with the all important police sirens ever increasing in decibels as they close the distance, yet always slightly muffled by the closed capsule that is a car's interior. Every sound effect is presented subtlety, yet drenched in substance.

One particular shotgun blast almost pierces the ears in a very quiet scene, which only helps to magnify the vicious intent of the act. But what also works so well to emphasise the potency of the blast, is the use of silence. As mentioned, this same school of thought is applied to the main protagonist, who finds strength in silence rather than speech. At pinpoint times throughout the film, silence engulfs a scene, and instantaneously adds extra depth. The sound puts you at grips with the story's flow, then the silence almost means one's breathing becomes a part of the soundtrack.

The music accompanies the sound design flawlessly, with a mix of vocalised pop structured songs, and a minimal instrumental score. When injected, the vocalised tracks immediately came to the fore (specifically 'Nightcall' and 'A Real Hero'), whilst the original score unassumingly adds its magic to keep you engaged, and most of all, emotionally responsive.

Drive is a coming together of all the elements that make a good film, executed thoughtfully. I think each viewer will find something within this film, which makes them reflect and appreciate. If not appreciate, then at least respect, as it truly is a modern day classic, and I believe it will be talked about for years to come.

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Sunshine (2007)

8/10

An epic journey to save the sun, brings with it all sorts of baggage

3 September 2011

Warning: Spoilers

I revisited Sunshine recently for the first time since seeing it at the cinema upon its release. I remember the first time round I was very excited to watch it, as the trailer sold the movie superbly for me (in part thanks to Clint Mansell's 'Lux Aeterna', never fails). But also because I always love a well made, convincing, science fiction film, as they are very rare. Sci-fi is such a difficult genre to tackle, that failure is always imminent, but when a director does get it right, it has the potential to be awe-inspiring.

On first viewing Sunshine, at about half to three quarters of way through, it had done everything completely right. It really couldn't put a foot wrong. Then out of nowhere, it did. But up until that point this was a science fiction masterpiece, only to be let down at the final hurdle. But regardless, it was still so impressive, I always had the desire to re-watch it, with a more open mind, and give it another try. On second viewing I still enjoyed it like the first time, and even more. It obviously helped to know that the film was going to hit a speed bump of sorts, going into the final act. But aside from dwelling on that, the second viewing gave me a real chance to witness the brilliance of this film again, and delve deeper into the mechanics of how it is one of the best sci-fi movies in recent times.

The special effects are very convincing and lovely to gaze upon. From the invigorating yet menacing sun, to the ship's exterior, and its impenetrable hi-tech shield. The interior of the ship ticks all the boxes for a good sci-fi, with contrasting rooms, from the hydrogen garden, to the rec room, and the out of this world payload. The cinematography introduces it all in such a special way. In some instances we are taken back to the opening of Ridley Scott's 'Alien', with slow tracking shots, letting the walls breathe, without a character's actions or dialogue to break the moment. All this sets up the atmosphere nicely, and shows the isolation of being so far out in space. Adding to this atmosphere is a great score, and an intriguing sound design. I particularly loved the sound composition used for the signal from Icarus 1. So incidental, but carrying so much meaning and consequence for the mission. It's almost like every tone, every beep of the signal, carries a whole new range of questions and considerations.

Something I also noticed on second viewing, and quickly became a redeeming feature of the third act, was a directing masterstroke. As is mentioned in the film, when reaching the surface of the sun, the gravitational pull and velocity of the ship, will subsequently mean time and space will no longer make any coherent sense. They basically will be twisted, turned, changed, so they are not even a slight representation of their former self. In the film, this is craftily depicted visually through the distortion and skewing of the picture's aspect (ie. space), and with still frames and incoherent jump cuts (ie. time). It's so rewarding as a viewer when a director makes a conscious technical decision that breaks down normal conventions, in order to creatively symbolise part of the story. It really does take a film's aesthetic qualities along with depth of meaning, to an entirely different level. I also along with this, can't help but mention the genius in reversing the playback of the 20th Century Fox insignia at the opening of the film. Not only creative, but I don't think I have ever been hooked into a film so quickly after that final trumpet note is silenced. The immersion was instant!

Over and above the special effects and technical expertise of this film, I felt the representation of a vast divide between the character's personalities, professions, agendas, and morals, was the true success of this film. It's the foundation of what makes it such an intense and enthralling experience. This conflict of interests is carefully played out, and so engaging, that you feel compelled to consider your point of view, or take the side of someone's on screen. In a film with such scope to its ideas and narrative, a clash between primal instinct and human nature becomes the centerpiece. Watching it all unfold is pure entertainment with intellect.

I would definitely recommend this film as I rate it very highly. Sure it has its flaws, or more so flaw, but it is very easy to fall into the trap of passing quick judgment. I think after a repeat viewing, one can see some merit in the third act, and see the film as a whole. This is an intense science fiction thriller that really does not let up. It's a film that should define the genre for years to come. Who knows when the next chance will come to explore the unknown outer regions of space, through such a thought provoking, and highly entertaining piece.

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Hesher (2010)

9/10

Reckless & Touching

19 August 2011

I feel compelled to write a review on this film, but I'm just not sure what to focus on or how to outline what I loved about it. The story is so unique, and so left of centre, that it's very hard to describe, let alone break down and review. When attempting to describe it to a friend, I found it very difficult, as it just sounds so crazy. It makes one think, how could this be that enjoyable. All I could really say was, 'you have to watch this film!', as it made me smile, laugh and connect, from opening scene to closing credits.

After seeing the trailer for this, I was immediately interested. Mainly because of the crazy, ab-lib, don't-give-a-s**t nature of Hesher, actually reminded me of a friend, and this friend's antics and philosophy on life always amuse me, and more often than not, enlighten me to how this crazy world can be, and how you really shouldn't take things so seriously. Having such excitement for an upcoming film, you can quite often be let down. Luckily for me Hesher stood up, and was everything I hoped it would be, and more.

I found the story to be simply brilliant. So random and unpredictable you never really knew where it was going, or what was going to happen next. I loved the way in which Hesher makes he's first appearance in the film, and how he somehow, without trying (so it seems), finds he's place in Grandma's home. The dialogue was simply gold and oh so funny at times, that it made me want to re-watch the film as soon as it concluded, to pick up on the quick wit and laugh all over again. The scene at the pool was definitive for me. So funny and so strange. I couldn't help but enjoy and admire the way Hesher went about things in that scene, letting himself completely go, without a fear of consequence. Acting on he's most primal impulse. Not so much in anger, but in freedom, and having fun at the expense of a few 'versatile solutions for modern living'.

Hesher is an amazing character, and Joseph Gordon-Levitt is brilliant. This might sound ridiculous to some, but I think it was worthy of an award, as this is a true embodiment of a character. There is no Joseph Gordon-Levitt in this film, there's only Hesher. I haven't seen that many of Joseph's movies, but I do remember '500 Days Of Summer', and this is polar opposites as far as role is concerned, and not many actors could make such a leap, convincingly. I also became a fan of Natalie Portman after this. I love the fact she took on a role that was so different. Her character's plainness, honesty, and self-confessed faults, made her simply beautiful to watch throughout. Devin Brochu as the main boy which the story revolves around is amazing. He's level of dramatic execution is spot on in every scene, and he's so believable as TJ. The film has such rich characters, which are all played to perfection. The Grandma is also worthy of a mention, providing so much love to an otherwise somewhat tragic story.

This film manages to mix humour, sadness and heart like very few films can. Its films like this that can pick people up and put them back on their feet. It actually made me feel better about life, and less worried about the ridiculous incidentals that can make us anxious and get us down. I'm not sure how this film managed to tap into such thoughts and emotions, but somehow it did. There is no comparative circumstance in the film for me, nor is there an obvious message that everyone can relate to, it is simply a story with colourful characters, with simple lives, told in such a unique and crazy way, that for some reason you commit to it and totally embrace it, only to feel on top of the world for having done so.

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Predator 2 (1990)

7/10

A city tearing itself apart - insert Predator here - and watch what happens!

13 August 2011

It's refreshing to see many reviews on here that really rate this film. As people have said, there is more Predator time on screen, the action sequences are exciting, new weapons, all these things really add to this being a great movie. But for me, I find there is one main element which made this film on a par with the original, and some may say, even better.

What was executed perfectly, in order to differentiate it from the first, is the mood of the piece. This is one eerie, complex, and at times downright terrifying film. The way Los Angeles was painted for this, as the platform for the story to go to work, is simply ingenious. The entire movie works to represent a city in the depths of despair. There are a few key scenes I would like to touch on here.

Firstly, the film immediately starts by placing the viewer in the near future (well 1997 was the near future when the film was released), in a very bleak Los Angeles, which is boiling over in a cesspit of crime. Street warfare is taking place on a mammoth scale, between the authorities and drug gangs. The sheer ferocity of the warfare to open the film, can't help but make a viewer engage and feel uneasy about this city. Adding to this is the aggressive nature at which the drug gang goes to work. Restocking their weapons, encouraging each other, snorting drugs mid fire fight, there is no fear of consequence, a frightful thing to witness. Then insert a Predator into story, and make an already horrific scene worse, leaving behind an unexplainable bloodbath.

Secondly, the police station scene also works very well to set the mood. No violence or warfare, but just a police station jammed to the walls with criminals, needing to be processed. It is here that our main character (Lieutenant Mike Harrigan) explains the drug war, to a new recruit. I really like the scripting in this scene, and throughout the movie. The dialogue is clever, and paints a vivid picture of the situation, with no gloss or wasted words, just descriptions spoken with exceptional potency. A hidden gem in this scene also helping to set the mood is the sweat. Everyone is sweating profusely from a heat wave, and the dust in the air is lit by intrusive beaming rays of sun through the filthy office windows. It all works so well to present a city and a police force nearing breaking point.

Thirdly, for vicious intensity, I cannot go past the action scene on the subway train. The opening shot of a subway train thundering past, immediately feels intimidating. Add in a sweaty crowded train, more criminals, and our main villain, and we have a showdown in a tight space whilst in motion. This for me is probably the creepiest scene from the whole Predator franchise. And although so many elements are mixed together to make it special, the lighting takes all honours. The use of strobe lighting effects, and gun muzzle flashes, make this edge of your seat viewing. This is horror at the highest level, played out to perfection, in an action film.

There are so many parts of this film that work to set and complement the mood of the piece. From the scenes mentioned, to the drug gangs voodoo magic rituals, a back alley meeting with a drug lord, and also the sickening and deplorable media coverage of Hard Copy. So many filmic aspects, from the dynamic and contrasting characters (without the macho) and the richness they bring to a dire situation, a score that is decisively injected throughout, and the lighting of the night to perfection. This truly is a great sequel, and don't get me wrong, the Predator steals the show once again. But I believe the silent achiever was the portrayal of a city with little to no hope left, which really is the all important catalyst to making this an original and highly entertaining film.

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The Tree of Life (2011)

5/10

Easy to dislike, but unlike anything

12 August 2011

I don't think there will be many reviews on here that are 5 stars out of 10, for the simple fact that the majority either love or hate this film. I can understand both sides of the argument, but personally find myself somewhere in between.

I could never say I enjoyed The Tree Of Life. I went in open minded, aware that it would be a challenging watch, but still struggled very early on. I left feeling disappointed it hadn't reached my expectation. But I also left knowing I'd just seen a film, unlike anything I have ever seen before.

It is an extreme departure from all the traditional expectations that film history and theory have given us. One of the most challenging of these departures being the lack of, or more so, non existence, of a narrative. Sure, there have been plenty of films with little to no story in the past, but not like this. This is a visual and aural flow of deep observation into a family, and particularly, a boy's childhood. It's the way this is portrayed and the self reflection it evokes in the viewer, which is truly astonishing.

The disjointed nature of the piece also is difficult. Again, films in the past have jumped through time and space, without reason or explanation, but again, there is normally a hint of narrative or a theme to provide the all important glue to keep you interested. But not with The Tree Of Life. It jumps with no clear or even subtle reasoning, much like a dream or a memory popping into your head. Or a work of art, open to interpretation.

Not providing the viewer with a character/s that they could feel sympathy, anger or concern for, is probably what I found hardest. I can watch most things, but to not have a character that garners some sort of emotive interest, makes it a very difficult watch. I actually found myself getting annoyed at the amount of screen time dominated by the young boy. Screen time without dialogue. Just stares into the infinite, behind the camera, which in hindsight seems like such a different and highly effective way to ask the viewer to engage with the character's thoughts. This is too real for you to care for the characters. Too honest, too true, not fictionalised or hyperbole, it presents their faults, and their struggle, through an ordinary everyday life.

I think the above three points really outline why I was disappointed with this film. But as soon as I was struggling with the lack of narrative, structure, or characters, I was overawed by the way it was making me think and feel. I come back to my point that I could never say I truly enjoyed The Tree Of Life, but I could never dismiss it. As to me it presented a family on film unlike anything I have ever seen, and it made me think about my life during the movie and for a long time after. It makes you look inside yourself and revisit your past and think of your loved ones, to discover how your unique life and personality has been shaped. It won't provide any clear cut answers or epiphanies, it won't turn you into a better person, or make you proud or disappointed in who you've become. But instead, it simply invites you to reflect, on the wonder of it all.

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Classic Albums: Metallica: The Black Album (2001)

Season 3, Episode 3

8/10

A great insight into a band that has had its fair share of ups and downs

4 May 2008

Firstly, I must say that I saw Some Kind Of Monster before I saw this Classic Album doco, so my attachment to the inner workings of this band was already well established.

This doco it seems was made right before the implosion that was Some Kind Of Monster, and really works to capture the tension between the band, and the egotistical traits that they would try to rub out in the future. Many parts of this doco spell out the conflict that exists within the band, but there is also a genuine feel (especially from Lars and James) that they'll sort the problems out themselves. They always have......

The reality was something very different.

I think the character's body language and comments within this doco bring so much richness to the overall piece. From James, Lars, Kirk and Jason, to Bob Rock and Randy Staub (Engineer), I got a real sense of how difficult the recording of this album was for the six of them, its as though they find it just as difficult to revisit and talk about. There is definitely a lot to be read through Bob Rock's comments, and he becomes one of, if not the most integral character in this doco.

The doco provides brilliant insight into the Black Album. It delves deep into the technicalities of the recording and mixing. Looking at individual track developments and the problems that arose. The bonus features on the DVD are just as good as the doco itself, and I guess the only reason they weren't included was due to time limitations. Its almost like the bonus features are part 2 of the doco....excellent!

I believe this Classic Album doco differs from many of the others, and therefore gives it a much more emotional delivery. This doco looks at a band that is still actively recording, and by no means at the end of their career. In Metallica's case, when this doco was made, I guess it was right on the back of the Load/Reload and S&M backlash. It was a band that knew they had albums left in them, but had been hit with so much criticism, that going forward seemed all the more difficult.

So here, they are asked to feature in a doco on their 'classic album'. As much as I'm sure they appreciated the accolade, it would have brought up many questions in their heads about the point of pushing forward. If someone is telling you the album you made 10yrs ago is your classic album, then there is a definite belief that there is not much else left to come. I think this reflects through the band members in the doco. Its not a sense of remembering 'how good we are' (as it feels in many other 'Classic Album' docos, where the band has long since retired/disbanded), but more of a sense of revisiting 'how good we were'. And therefore begs the question what has gone wrong since.

I guess to summarise, this Classic Album doco for me was made at such a poignant time in the career of Metallica, that it is a must have for any serious fan, as it provides so much insight into the past, the present, and most powerfully, what was yet to come.

Long Live Metallica!

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