tag:blogger.com,1999:blog-4515589999881502832024-02-03T01:48:28.301+08:00Asleep at the WheelI, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.comBlogger52125tag:blogger.com,1999:blog-451558999988150283.post-20752593238605241452012-02-01T21:44:00.002+08:002012-02-01T21:44:28.356+08:00<br />
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<b style="font-family: 'Courier New', Courier, monospace; font-size: x-large;"><u><span style="color: #cc0000;">PLEASE BE ADVISED: ASLEEP AT THE WHEEL HAS MOVED!</span></u></b></div>
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<span style="color: #cc0000;">Asleep at the Wheel v 2.0</span>:</div>
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<a href="http://asleepaththewheel.wordpress.com/"></a><a href="http://asleepaththewheel.wordpress.com/">http://asleepaththewheel.wordpress.com/</a></div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-26413116324565517972012-01-22T23:51:00.001+08:002012-01-26T14:43:23.555+08:00The Descendants (2011)<div class="separator" style="clear: both; text-align: justify;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">As a significant Alexander Payne fan I'd be lying if I didn't say I was disappointed with <i>The Descendants</i>, his forth feature film and his first since 2006. At least compared to his three previous efforts and especially his last and my favorite, <i>Sideways</i>. I don't really think as a director he is overrated like some do, but maybe his latest film<i> </i>is. Perhaps it is somewhat unfair to do so, but his movies tend to warrant comparison given their similar cues and nuances; all low key stories composed merely with different players and settings. I couldn't really review this one without making them unfortunately, though I tried not to let that overtake the experience too much.</span><br />
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<span style="font-family: Georgia, 'Times New Roman', serif;">The story initially revolves around Matt King (George Clooney) trying to handle his two daughters after his wife is put into a boat accident induced coma. It is a meandering tale but this is what he (Payne) does after all and that wasn't a problem I had with it. Plus I do always admire his typical laid back technical approach employed here again. The characters are no more or less likable than any of the others in his films either, but perhaps a shallowness does exist with the family a little too obviously despite a brief monologue by Matt at the start of the film, decrying people's attitudes towards others without understanding the full story. The balance of humor and drama is just as - or maybe even more - successful as it was in<i> </i>Payne's other pictures. Unfortunately I just wasn't able to get invested emotionally as I was with those previous films. This is important for truly appreciating an Alexander Payne film I believe and definitely, I was unable to get to the point that you need to be to find <i>The Descendants</i> truly great. It didn't quite move me even though it tries so hard. Therefore I could only find it merely good, but it is not all doom and gloom; the closeness that the Kings experience due to the events in the film is a positive thing. </span><br />
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<span style="font-family: Georgia, 'Times New Roman', serif;">The good is that it is never really dull and it does improve during the last 30-40 minutes where some of the best moments materialize. Though it is hard to say any one particular scene or scenes stood out as memorable, and I do find it easy to do that with his other films. Without question I thought George Clooney was great - a subtle dressed down rendition of a 'Dad' for the actor worthy of accolades. His two daughters aged ten and seventeen were played as natural as possible by Amara Miller and Shailene Woodley respectively, with only a couple of moments of angst feeling unconvincing. Other performances were fittingly good, particularly Robert Forster as the father-in-law and a much matured Mathew Lillard in a key role. </span><br />
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<span style="font-family: Georgia, 'Times New Roman', serif;">It seems to come with the territory with such subject matter and I don't have a problem "sitting in somebody's misery", but I'm not going to go overboard on <i>The Descendants </i>on this point because it wasn't an overly depressing film to me by any means. I'm glad there are writers and directors out there intent on showing the disappointment of life as much as the greatness. Perhaps I had decent sized expectations given I rate Payne pretty highly, so it is just a shame it didn't resonate as much as I wanted it too because it was presented in typically warm fashion by the director. A revisit in twelve or so months may yield different emotions - maturity does seem to have that effect.</span></div>
<span style="background-color: white; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"> </span>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com6tag:blogger.com,1999:blog-451558999988150283.post-24448067499563193092012-01-18T12:32:00.000+08:002012-01-28T18:24:15.830+08:00Top Ten Films of 2011<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-family: 'Courier New', Courier, monospace; font-size: large;">10. <u>SENNA</u></span></b><span style="font-family: Georgia, 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;"><a href="http://fuzzylogicfuzzyface.blogspot.com/2011/08/senna-2011.html">[Full Review]</a><o:p></o:p></span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Delayed, undervalued and sadly overlooked, <i>Phillip Morris</i> was the best kind of quirky. Short, but smartly paced with great performances from
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<b><span style="font-family: 'Courier New', Courier, monospace; font-size: large;">8. <u>GET LOW</u></span></b><span style="font-family: Georgia, 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">This was like a great short story (or fable if you will) and was utterly charming. Small and not overly ambitious, it was witty without even trying and the effective drama kept things involving - if Robert Duvall’s singular sublime performance didn’t already. The old-timey-ness of it all is sweetly overwhelming and it almost feels like Coen country, perhaps happening just across the way from Ulysses Everett McGill’s chain gang… </span></div>
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<b><span style="font-family: 'Courier New', Courier, monospace; font-size: large;">7. <u>THE IDES OF MARCH</u></span></b><span style="font-family: Georgia, 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;"><a href="http://fuzzylogicfuzzyface.blogspot.com/2011/11/ides-of-march-2011.html">[Full Review]</a></span></div>
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<b><span style="font-family: 'Courier New', Courier, monospace; font-size: large;">6. <u>TRUE GRIT</u></span></b><span style="font-family: Georgia, 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">The Coen Brothers never seem to put a foot wrong whatever they take on. <i>Grit</i> is fairly traditional type fare for them compared to other, more ‘Coen-verse’ work such as <i>Fargo</i> or <i>Lewbowski</i>. It doesn’t rate as well as their totally original creations then, but something that looks this good can get away with lacking something else – whatever it is. Luckily, Bridges, Damon and the amazing Hailee Steinfeld make it easy to enjoy on repeat viewings. </span></div>
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<b><span style="font-family: 'Courier New', Courier, monospace; font-size: large;">5. <u>BARNEY’S VERSION</u></span></b><span style="font-family: Georgia, 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Following the last 30 odd years in the life of a Jewish schmuck – from his POV no less –should surely grow tedious, but this had a likable pace and decent juggling of events big and small, and proved to be an authentic tear-jerker by the end credits. I cannot comment on it as an adaptation, but the victory for me was mainly Giamatti; here he unsurprisingly brings his best game form and if it wasn’t for <i>John Adams</i>, this would make his top 3 best performances yet.</span></div>
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<span style="font-family: 'Courier New', Courier, monospace; font-size: large;"><b>4. <u>SNOWTOWN</u></b></span><span style="font-family: Georgia, 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b><span style="font-family: 'Courier New', Courier, monospace; font-size: large;">3. <u>DRIVE</u></span></b><span style="font-family: Georgia, 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;"><i>Drive</i> had many admirers and an admirable share of loathers. Undeniably destined for cult status, the point wasn’t that it’s all been done before, but that director Refn took on the blueprint and offered it up with his own unique vision. It sits amongst decidedly similar efforts of course – some better, some worse – in the grand scheme of genre, but when the presentation feels as fresh as it did for me, I wasn’t going to let such a tedious gripe spoil the party. </span></div>
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<b><span style="font-family: 'Courier New', Courier, monospace; font-size: large;">2. <u>MONEYBALL</u></span></b><span style="font-family: Georgia, 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">So another sports film that’s supposedly not about sports? Pitt morphs into Redford mode effortlessly, guiding the film into an old school American quality rarely seen these days in Hollywood, something that an ageing Roy Hobbs would no doubt approve (though any comparisons to <i>The Natural</i> end there). Patient directing and a brilliant script co-written by Aaron Sorkin go a long way, but most surprising was the unlikely chemistry Pitt shared with up-to-the-challenge Jonah Hill. You even saw a bit of baseball, but don’t let that put you off.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">I had very little doubt about my number one, despite it being released within the first weeks of 2011. Possibly the most interesting director working today, Darren Aronofsky delivers the goods with help from a career defining (and surprisingly mature) tour-de-force lead performance from Natalie Portman. Psychological horror for the ages. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">127 Hours, Captain America, Everything Must Go, Pearl Jam 20, Red Dog, Red State, The Reef & Thor.</span><br />
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<span style="font-family: Georgia, 'Times New Roman', serif;">13 Assassins, Contagion, The Guard, Hesher, Howl, Midnight in Paris, Source Code, Take Shelter, Tree of Life & We Need to Talk About Kevin</span><br />
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</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-67802227241847626602012-01-03T20:10:00.000+08:002012-01-26T14:44:14.946+08:00Snowtown (2011)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">This is not a film that should or could be easily
recommended. It has moments of brilliance in it's articulation that all film fans should experience,
but it is ultimately about a brutal serial killer and I could not say it is a
"must-see" like some other films that are labelled as such; the
lauded movies that cross over genre, boundaries and have universal appeal, as
well as being superbly crafted. <i>Snowtown</i> will simply repel certain people too
much. Blaming weak or uncultured stomachs would be a tad unfair too as the
film’s major strength is its realism and some will just find it too much to
bear. However, this should not take away from director Justin Kurzel's exceptional debut about the exploits of one John Bunting.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Viewed as a work of fiction, it can be considered
one of the best films ever made about a murderer. Viewed as it is; a re-telling
of not-so-long-ago actual events – which cannot be ignored from almost the
first frame- it is chillingly more impactful, no matter how much the film may
have taken liberties or skipped over certain aspects of the real crimes. If you
are aware this happened, you cannot watch without your mind falling back to
that disturbing fact. Ignorance is possibly bliss in the case of <i>Snowtown </i>then,
as knowing a person such as Bunting (played with meticulous malevolence by Daniel Henshall) inhabited a sleepy Adelaide street, is
worse than assuming he is just an evil creation similar to Mick Taylor in
Greg MacLean’s<i> Wolf Creek</i>. This is where the realism (particularly in the
performances, production design and script), take hold and shapes an Australian
film deservedly held up alongside ones such as <i>The Boys</i> and <i>Romper Stomper</i> – a
confronting representation of a reality of our society. <o:p></o:p></span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Certainly it is not even too insane to view Bunting in the same context as
the insidious Taylor; like a mere distant relative more domesticated and less
flamboyant. But <i>in </i>context, the events in <i>Creek</i> are almost fun compared to
those here. With an amazing, creepy score weaving itself through to the chilling
climax, <i>Snowtown</i> is overall a brilliant manifestation, but extremely intense. The only real criticism remains that the narrative is sometimes too confusing or ambiguous for its own good, making it easy to get
somewhat lost among victims, relatives and time lines.</span><o:p></o:p></div>
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</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-78595145003941093862011-11-26T11:48:00.020+08:002012-01-26T15:00:48.556+08:00The Ides of March (2011)<div class="separator" style="clear: both; text-align: left;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">Not is all as it seems in <em>The</em> <i style="mso-bidi-font-style: normal;">Ides of March</i>. What begins as a slick, enjoyable film about Governor Mike Morris’s (George Clooney) campaign to a hopeful, eventual presidency develops into a scandal laden political thriller heavy on thought provoking notions of dignity, loyalty and the ethical conflicts within man. The beauty is, that this forth film for Clooney as director, has successfully brought all those elements together in an extremely mature, stylish and non-convoluted way. <i style="mso-bidi-font-style: normal;">Ides</i> is an accomplished film, which harks back to the golden age of 70’s American cinema that Clooney has confessed has always being a major influence. </span><br />
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<a name='more'></a><span style="font-family: Georgia, 'Times New Roman', serif;">While less heavy hitting than <i style="mso-bidi-font-style: normal;">All the Presidents Men</i> for example, his focus is still the same but smartly allows somewhat more contemporary plot lines to drive his story as the film goes on. The old school ideas of back stabbers, liars, manipulators and the soulless media amongst the political arena are still showcased however in what is ultimately, a simple, but excellently written work.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Clooney is helped by and was lucky enough to assemble a cast to die for, including himself as Governor Morris, an on the surface, seemingly incorruptible nice guy elect until pushed into a corner. Clooney is solid as always moving between likable, threatening and convincing as a presidential candidate (his posters successfully mock the infamous Barrack Obama images). This is not his film however – at least not in the actor sense. I’m not sure what more can be said about Ryan Gosling as his reputation seems to soar these days, but here, playing one half of Morris’s “brains trust”, Stephen, he gives another exceptional lead performance, after coming off the superb genre effort, <i style="mso-bidi-font-style: normal;">Drive</i>. As a heavily conflicted character, Gosling is almost hypnotic to watch as his demeanour transforms throughout the film until he reaches the brink of his internal morality battle. On the side you have Paul Giamatti and Phillip Seymour Hoffman. Two of the finest actors of their generation and their great presence on screen are perfect for roles such as this. Though each is given at least one meaty diatribe to sink their teeth into, they do unfortunately appear more in the background, their characters fading out to allow the twists and turns, alongside Gosling’s internal conflict take centre stage. Of the few female roles in<i style="mso-bidi-font-style: normal;"> Ides</i>, young Evan Rachael Wood, as innocent, but tragic intern, Molly, shines the most. As skilled as she is beautiful, her emotional range is that of someone twice her age.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">If the film does rely on great performances somewhat to rise it above the norm, that shouldn’t allow to take away from Clooney’s extremely solid execution as director. With the exception of screwball comedy, <i style="mso-bidi-font-style: normal;">Leatherheads</i>, all his films have rendered a maturity not often seen in Hollywood, showcased with great style, impeccable editing and pace. <i style="mso-bidi-font-style: normal;">Ides,</i> with its shadowy figures in the hallway, extreme close ups and lingering camera moments amongst a subtle, but suitable score, all give the film a classic feel which may allow it (if worthy – time will tell) to sit fairly comfortably next to the 70’s pictures that inspired it. This is perhaps not the film one expected from Clooney, who no doubt will take on the political sub genre again (or we can hope), given the perceived “on the campaign trail” storyline, but that doesn’t make it any less great. Those hoping for Clooney doing <em>The West Wing</em> may be disappointed though. It’s not going to over work your brain in order for you to keep up, but the writing and performances are determined to have you walk away questioning the conflicts at the heart of the story. Perhaps because of this, and like all good movies, it stays with you after the credits roll. Slick, mature and thought-provoking, <em>The Ides of March</em> is one of Hollywood’s best of the year.</span></div>
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</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-64493862779269460002011-10-12T22:17:00.015+08:002012-03-25T11:49:43.347+08:00Mastodon - The Hunter (2011)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">Of the newer breed of hard rock/metal bands to emerge in the last decade, Mastodon it seems have an aura around them which grants a unique anticipation whenever a new album is announced. The four enigmatic figures that make up the Atlanta quartet are unique unto themselves as well; extremely charismatic, funny, intelligent and minus chips on their shoulders; they carry an enthusiasm for playing and producing music that rubs off on all that call themselves followers of the band. Their discography (of which 2011’s <i>The Hunter </i>is their fifth official long player, but sixth proper release overall) reflects their attitude and musicianship better than most of their peers. All this combined breeds a group that is massively respected by their contemporaries, fans and critics alike. So after over two years since their proggy behemoth, <i>Crack the Skye</i> was released, and much discussion regarding the band’s musical direction, <i>Hunter</i> is out in the world and ultimately, it is possibly the best indicator of where Brann, Brent, Troy and Bill are with their skills and vision as well as serving as an almost justification for their refusal to repeat themselves. Sprawling concept album ideas are on hold this time; tight, self-contained tracks with plenty of chest hair are the order of the day.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Personally, I find calling Mastodon’s direction since and including 2006’s <i style="mso-bidi-font-style: normal;">Blood Mountain</i> ’weak’ or ‘soft’ as some have, is a little precious and self-serving. Understanding that <em>yes</em>, this was a band that by 2004 had released two albums and a compilation of early material that defined and converted a new wave of fans to extreme “sludge metal” (peaking with arguably their most valued work to date, <i style="mso-bidi-font-style: normal;">Leviathan</i>), does not necessarily suggest that their more hard rock orientated approach nowadays should not be held on the same pedestal. Is <i style="mso-bidi-font-style: normal;">The Hunter</i> metal? In its purest form, no, not really. Is it heavy? Yes - at least when it wants to be. In the end it’s proving easier to be disappointed than it is to stretch your boundaries and in the case of this new release, acknowledge, understand and appreciate what the band is willing to do to evolve their sound. I won’t disrespect an ideal or direction from somebody if it’s done with passion and talent like in the case with <i style="mso-bidi-font-style: normal;">Hunter</i>. Plus I’m far too old to hold it against a band because ‘Curl of the Burl’ will reach a wider audience due to it becoming a (potential) radio staple despite once producing such trudging heaviness like ‘March of the Fire Ants’ for example. Clinging onto what defines “underground” and refusing to accept something good because it doesn’t fit into some conceited notion is lost on me. I’ve grown up, matured, evolved my tastes and moved on. On <i style="mso-bidi-font-style: normal;">Hunter</i>, Mastodon seem to have as well, and once the layers of the album reveal itself after several listens, calls of compromise towards them is a laughable offence in my humble opinion.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">I admit since discovering them in 2005 after hearing the track, ‘Seabeast’, I may be a tad bias in my view on them, having garnered a distinctive amount of respect reserved for only those who leave the deepest impression. But enough ranting, it’s onto the songs themselves. When <i style="mso-bidi-font-style: normal;">Hunter</i> opens with the almost evil sounding ‘Black Tongue’, the crispness of the production is like a punch in the face. Have they ever sounded this pristine? When you hire a pop/hip-hop producer (namely Mike Elizondo), it’s no surprise, even if the idea itself already has some fans balking. Mastodon deserve to sound this good though. The gigantic riff that swaggers through the opening track earns the right to polish – loud enough to level buildings. The instant classic (and first single) that follows, ‘Curl of the Burl’, is an audacious addictive rock feat for the band. Brann Dailor suggested that <i style="mso-bidi-font-style: normal;">Hunter</i> was more focused on groove; ‘Burl’ is a thick, groove stew. ‘Blasteroid’ and ‘Octopus Has no Friends’ are headed for fan favourite status as Hind’s guitar wizardry blasts its way through the verses and as becomes clear through the rest of the disc, the vocals (provided by Hinds, Sanders and Dailor throughout) are a major breakthrough. For long-time fans, hearing some of the vocal harmonies on these tracks (as well ‘Stargasm’ and the 50’s B-Grade inducing ‘Bedazzled Fingernails’) is a minor revelation. <i style="mso-bidi-font-style: normal;">Mountain</i> and<i style="mso-bidi-font-style: normal;"> Skye</i> showed that despite it being the weakest arsenal in their cannon, vocally everyone is challenging themselves to be able play want they want. The singing is sometimes so jaw droppingly good for them, calls of studio trickery are abound. Personally it's fair to say some things may have come into play, but I will give the band the benefit of the doubt (and especially Sanders) that they have genuinely improved immensely.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;"> As the album continues on through its 13 tracks, the level of consistency starts to become clear. It’s hard to fault any of the songs despite the varied styles being employed. ‘Stargasm’ is possibly the pick of the bunch with its spacey syths under the decidedly melancholy chorus juxtaposed amongst the chugging riff of the verses. The title track is the albums closest link to 2009’s <i style="mso-bidi-font-style: normal;">Skye</i>. A touching meditation by Hinds of his brothers untimely death, it’s simple lyrics and epic rock construction make it a highlight with fittingly, possibly Hind’s best solo ever put to wax. From then on, the more meat and potatoes additions appear with ‘Dry Bone Valley’ and ‘Thickening’ proving to be, if not overly exceptional themselves, solid heavy rock tunes that once again, drip with an addictive quality that seems to cover all of <i style="mso-bidi-font-style: normal;">Hunter</i>. ‘Spectralight’ is the closest song that harks back to the ‘sludge’ era and is a complete assault via Dailor’s pummelling drums and the twin attack of Melvin’s inspired guitar fuzz. Added to the intensity, is Neurosis lead singer, Scott Kelly, who provides most of the vocals here. ‘Creature Lives’ is the clear oddity that while it sticks out considerably amongst the band’s repertoire, the song itself is a wonderful inclusion and cements their infallible quirky nature. The album closes elegantly with ‘The Sparrow’, an almost instrumental, layered to reach a classic rock crescendo.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;"> On the surface, this is a Mastodon like they’ve never sounded before, but pure in that it is unmistakeably <em>them</em> and ultimately, it is not really <em>that</em> much of a departure if you follow the band and their often revealed inspirations. Not many bands can truly be proud of turning the corner, making something for themselves that is as every bit enjoyable as it is technically proficient and not lose their passion. It’s a bit hard to explain, but while some will cry foul that there is nothing extreme enough to frighten you're parents, <i style="mso-bidi-font-style: normal;">Hunter </i>sounds like a band who’s found their niche, is happy where they’re at yet still striving to create interesting music and challenging their ability as songwriters. If this band has any commercial success agendas besides that, they’ve certainly got me fooled. I’ll wait a while yet before I start casting stones for such a thing anyway. Credit where credit is due and <i style="mso-bidi-font-style: normal;">The Hunter</i> is an exhibit for the court that Mastodon is ready to take over the world of Hard Rock – and so they should.<br />
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</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-55113238801879341032011-08-13T19:37:00.006+08:002012-01-26T14:45:42.461+08:00Senna (2011)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">A good documentary should engage the audience regardless of whether they have a knowledge or passion for its subject matter. <em>Senna</em> is a classic example of this, as your interest in Formula One racing or Senna himself is not a prerequisite to find this excellently crafted film absorbing, compelling and moving. With the blessing of the Senna family, director Asif Kapadia gives us an entertaining insight into the man, the drama and politics of the sport exclusively through on and off track archival footage (some extremely rare) supported by various voice over with out a talking head in sight. The structure of the film is not an overly conventional and traditional one, but in hindsight, was the best possible presentation to allow us to be transfixed at the saga that was Ayrton Senna’s F1 career up until his death in 1994.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Beginning in Senna’s youth and following his passion for go-karts, it is made clear he was not a product of Brazil’s overwhelming poverty and at an early age his well to do parents easily supported and encouraged his passion; his unyielding belief in religion and a protective God was also instilled early on, and would remain a driving force of his outlook throughout his life. Coupled with a remarkable competitive spirit, Senna’s ascension into F1 greatness was merely a formality, though his first years were a shaky transition. Having to learn to accept and deal with the politics of the sport and once they become team mates, the determination of current No.1 driver in the world, Alain Prost, who perhaps was subject to nepotism from then-F1 boss and fellow countryman; Jean-Marie Balestre. The bitter rivalry that developed between them over many years is the main focus for the majority of the film, particularly during the fight for the championships which seemed to always be determined by the results in the final race of the season for several years in a row.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Using voice over mainly from Ayrton’s sister, a select few commentators and writers from the era are used as well as then-McLaren boss, Ron Dennis, for insight into specific events. Somewhat surprisingly, no actual drivers from Senna’s time are present besides what is seen in the footage which includes several moments of drama at driver meetings, in team’s garages and of course, on TV interviews. The latter particularly displays Ayrton's sense of humour and undeniable cheekiness when it comes to the fairer sex. Above all though, his belief in God and unmatched competitiveness is at the forefront of the examination that is <em>Senna.</em></span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Though with the drama that unfolds during the course of the races shown being engaging enough, the film’s technical achievements become an excellent tool in the suspense and emotional power of the overall final product. Antonio Pinto’s bright, but almost “murder mystery” toned score resonates during races and moments of tension superbly, not once becoming an intrusion, but always rigged to impact a moment to the fullest. The editing of the many hours of video footage (including several Senna family home videos) is painstakingly done, with no inclusion feeling unnecessary. Regarding the on track action, the several times we’re taken on board Senna’s car during races, the sense of speed is overwhelming; giving any non-followers of the sport a taste of the exhilaration that induces it’s fans. Suitably, Kapadia strips back the voices when we get to the fateful weekend of San Marino in 1994. Leaving us to merely watch as discussions about safety and Senna’s tension about the race unfold like a fly on the wall, the build up is impressive with emotional resonance as the film reaches its conclusion. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Much like last year’s <em>American: The Bill Hicks Story</em>, <em>Senna </em>takes a unique approach to showcasing a life. Not content to show numerous well known names giving their view, the director has left it to those who knew him best, and Senna himself, to guide us through the career of this unique individual. His personal life is, on the surface, only shown minimally, but as the film goes on, it becomes clear that what we see in <em>Senna</em> is almost the perfect example of what the man was, nothing more, nothing less. If you have an interest in motor sport, this is possibly as good as it gets but for all others, it still remains a journey about passion, determination and tragedy worth taking.</span></div>
</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-56473277188809195892011-06-13T21:41:00.002+08:002012-01-26T14:46:09.000+08:00RocknRolla (2008)<div class="separator" style="border-bottom-color: currentcolor; border-image: initial; border-left-color: currentcolor; border-right-color: currentcolor; border-style: initial; border-top-color: currentcolor; border-width: initial; clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">Guy Ritchie’s first two films can arguably be called instant classics with his unique flair and (some what) originality earning him titles such as “the British Tarantino”. Though both <em>Lock, Stock & Smoking Barrels</em> and <em>Snatch</em> remain an acquired taste (and strictly “boys club” filmmaking), it’s hard to deny they gave a shot in the arm to mainstream cinema and made gangsters cool again. Unfortunately, Ritchie lost his way slightly after the success of these films; becoming a family man possibly changed his perspective slightly, but a woeful decision to make a film with his then-wife, the acting deprived Madonna, had him labelled as quickly as the “king of cool” to having lost it. Coming to his senses, Ritchie went back to the well and gave us (the hardly seen and critically paned) <em>Revolver</em>. However bad it may have been, that film seem to provide the director with renewed passion and he followed with <em>RocknRolla</em> before helming the entertaining blockbuster, <em>Sherlock Holmes</em>.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">RnR brings us closer to <em>Snatch </em>than any other film of Ritchie’s and even though it is not as exuberant as the former (nor as intelligent as <em>Lock, Stock</em>), it’s a fair – but clunky - effort, that shows that he still has something to offer in the genre it feels he seemed to almost invent himself. We’re in similar territory in that the story revolves around gangsters and crims (both British and Russian), involving a junkie rock and roll star and a very important painting. As much as the similarities with <em>Snatch</em> abound, RnR doesn’t feel like a sequel or overly a retread however. The humour remains (though not as funny), as does the violence (not as impactful) and even a voice over by Mark Strong’s Archie ala Jason Statham’s Turkish is present, it still feels distanced from the director’s explosive first features. Perhaps though, that is more about the actual quality of this movie. We <em>do</em> feel like we're in a whole new Ritchie universe, but the soundtrack, editing and all round wit is lacking in comparison. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;"><em>Snatch</em> and <em>Lock, Stock</em> were wild, fresh and at the very least; not boring. Ritchie has certainly changed his approach visually with his recent films, and while some scenes in <em>Snatch</em> felt inspired, RnR has some that feel mere experimental and others that just seem lazy. It’s still uniquely Ritchie, but far less impressive. Same goes for the script. Minor one or two scene characters that were worthy of cult figure status in his previous flicks are present here too, but there is something about them that is just, well, not as cool. And when they disappear out of the film, they really do – you’ve forgotten about them and your left with an ensemble of recognizable main actors populating what feels like a crowded film at times. Cool names such as One Two, Mumbles, Handsome Bob and Fred the Head are thrown around so quickly, they never stick or grant them the privilege of someone donning their moniker at a Halloween party and getting recognised. Hatchet Harry, Boris the Blade and Bullet-Tooth Tony these guys ain’t. This all causes the film too feel to muddled, long and only if you’re able to make it through the first 70 minutes clinging to actors such as Tobey Kebbell, Tom Wilkinson, Idris Elba and Strong keeping you interested, the final 30 is actually worth while. With a neat twist and a surprising exuberance to it, the final act almost feels as good as anything Ritchie has done so far and a tease of what could have been. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Gerard Butler as the central, curiously named, One Two, plays it well enough, but with so many players meandering through the mob deals and chase for a missing painting it’s hard to acknowledge a standout. All are decent with only Strong and Kebbell rising above their respected peers. Tom Wilkinson is extremely fun spouting various cockney barbs (“There's no school like old school, and I'm the fucking headmaster”), but he’s no Brick Top and inclusions of good actors such as Jeremy Piven and Thandie Newton feel wasted. I suppose it is not fair to hold Ritchie up so closely to his previous (though similar) films now and despite all the negatives, RnR is about as close to another great gangster romp from Ritchie as we could have hoped for and is at times, quite enjoyable. Plus with a cheeky final scene hinting at a balls-to-the-wall sequel, one can only hope Ritchie will line up his players somewhat more perfectly after feeling them out again here. If anything, I will embrace a follow up if it means the imminently watchable Kebbell’s Johnny Quid will be at the forefront. </span></div>
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</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-79262075062204872122011-05-14T22:07:00.004+08:002012-01-26T14:46:25.799+08:00Machete Maidens Unleashed! (2011)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">Mark Hartley, director of <em>Not Quite Hollywood</em>, presents us with a companion piece written, edited and presented almost the exact same way as his outstanding Aussie doco. As with NQH, he delves into B-grade exploitation, this time focusing on the Pilipino industry during the late 60’s, 70’s and 80’s. The country's pioneers of the extremely low budget drive-in efforts are showcased respectfully, but ultimately it focuses from when legendary shlock-king Roger Corman’s New World Pictures got involved early on.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Interviews with Corman, directors such as Joe Dante & John Landis as well as healthy contributions from several actors involved including Sid Haig are insightful and fun. If NQH exposed the many Aussie B-grade movies that defined the local industry, the entertaining comments and vast amount of clips from these Pilipino films in <em>Maidens</em> is a minor revelation. Ultra B-grade to the point of making the films showcased in NQH seem almost high brow, classic exploitation films such as <em>Island of Blood</em>, <em>The Big Doll House</em> and <em>TNT Jackson</em> are revealed as being a major part of the drive-in “genre” with Corman assessing that getting involved, meant he “could make a bigger film with less money”. The significance of these films being made and set amongst the jungles of the country prove integral. Indeed during the 1972 takeover by Ferdinand Marcos, when a strict martial law/curfew was enforced (whom himself still granted full use of the military on the sets), the relevance is even more interesting.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Starting with the gore filled efforts of the pre-Corman involvement, it moves on to showcase such stars as the amazing Pam Grier and Gloria Hendry and give great insight into the feelings of many of the female casts about these films. The “women in prison” genre after all, proved to be a major focus until after the Marcos domination in 1972, action and war took over. Points of note also include how the emergence of black exploitation not set in the United States, was quite pivotal with films such as <em>Savage</em> and <em>TNT Jackson</em>. A brief feature on a quite unique James Bond type midget star, Wang Wang, a distinctive section on <em>Apocalypse Now</em> and the demise of the exploitation film are explored by the end. Boobs, Gore and Stunts in equal amounts are featured quite heavily throughout of course much like the director’s first feature.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">A well put together effort as you’d expect from Hartley, that while I only saw the cut down hour long TV version it is ultimately a fitting side piece to NQH. Perhaps it will make a nice Blu-ray extra on that film, but certainly if you enjoyed the former, it’s worth checking out for more of the same, with merely a different setting and a totally new set of talking heads and insight.</span></div>
</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-4119005728469612602011-02-01T20:13:00.004+08:002012-01-26T14:46:39.097+08:00Black Swan (2010)<div class="separator" style="clear: both; line-height: normal; margin-bottom: 0pt; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">Director Darren Aronofsky is a unique beast in Hollywood. A filmmaking auteur, his five films have been wildly different but always exceptionally challenging and distinctive. With <i>Black Swan</i>, a remarkable experience in psychological horror, his work continues to evolve in this way. In short, a young New York ballet dancer, Nina Sayers (Natalie Portman), is given the chance to live her dream portraying the “Swan Queen” in a performance of Swan Lake under the demanding, watchful eye of revered director Thomas Leroy (Vincent Cassel). Overwhelming pressure from the ever growingly closer performance, her obsessive mother and guilt of stepping into the place of Beth Macintyre (Winona Ryder), a once beloved performer now shunned by Leroy, takes its toll and Nina slowly descends into hallucination and extreme behaviour. What becomes clear early on is that the film’s narrative <i>is</i> Swan Lake, making <i>Black Swan, </i>the movie<i>, </i>an achievement perhaps to overwhelming to comprehend after just one viewing.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Aronofsky settles into a familiar <i>Wrestler</i>-Esq pace, with slick cutting and handheld camera leading us into an authentic atmosphere of the ballet world, each actor convincing as literal dancers (no doubt some are real professionals) more than just comfortably belonging in background. Portman herself is truly convincing in the role of her lifetime. Plenty can be said for the excellent support players (including Mila Kunis and a perfectly cast Barbara Hershey), but Aronofsky is an actor’s director after all, and his leads all seemed to have offered little resistance to the remarkable challenge he sets for them (four of them have received best actor Oscar Nominations). Portman is no exception. Having always viewed her as talented but with perhaps an unfortunate young adult stigma, in <i>Swan</i> she finally transcends beyond that with a role equally draining emotionally and physically. It’s an almost surprisingly exceptional performance reaching extremes of madness and menace.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">What shouldn’t be denied about <i>Black Swan</i> is that it is a horror film. Long suffering fans of the genre are subdued with examples these days of usually pointless exercises in gore exploitation or cheap thrills designed to shock, but always fail miserably. Rewards do come to the patient however and the film teeters between genuine scares and skin crawling imagery, like all good horror should. Some moments are so disturbing, that mixed amongst the grace and intensity of the ballet, I wonder when was such a glorious example of the genre last achieved? Recalling and clearly influenced by the earlier films of David Cronenberg and Giallo maestro Dario Argento, Aronofsky has fortunately not shied away from snapped limbs, peeling skin and body manipulation. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Amongst all the well achieved suspense; using mirrors and doppelgangers to freak us out, lays the sublime cinematography. Tight close ups are the order of the day, including during the dance sequences which adds even more authenticity. The finale of the performance and all that transpires is remarkably fluid with a certain moment with Nina that had me picking my wannabe-director jaw off the ground. The final winning element is the enveloping score from long time Aronofsky collaborator, Clint Mansell. Embracing the orchestral moments of Swan Lake amongst original material, the increasingly dreadful vibe of Nina’s world would not be so intense if not for Mansell’s work. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;"><em>Swan</em> is a darkly sexual, extraordinary film that I couldn’t recommend enough, though it does come with a warning; it is not for the faint hearted. What I love the most is that the truly unique Aronofsky has continued to produce work that is challenging and flat out technically brilliant, allowing his influences to seep in as if only to say, I love these kinds of films, and here’s my drop in the bucket. What he has actually given us is one of the best horror films in years and another performance that raises the bar for intensity. Best director working today? Here is merely just another exhibit for the courts.</span></div>
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</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com2tag:blogger.com,1999:blog-451558999988150283.post-58865889092603684462011-01-08T12:07:00.003+08:002012-01-26T14:47:17.155+08:00Retrospective #2: Dirty Harry (1971)<div class="separator" style="clear: both; text-align: justify;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">"When a naked man is chasing a woman through an alley with a butcher's knife and a hard on, I figure he isn't out collecting for the Red Cross" </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">My Dad <em>loves</em> Clint Eastwood. I assume most men of his generation probably do though. He always seemed to me like a tougher, funnier and cooler version of John Wayne (ironic then that he was one of many stars in the running for the lead role here). At least the characters he portrayed anyway. His smart arse, gruff, take-no-shit persona (exemplified as Harry Callahan) was/is a blueprint for the modern action star. The Alpha male. So thanks to my Dad I grew up watching many of his films. To me what they actually were about was kind of a blur when I was a pre-teen. It was either a Western or a cop movie. Of course too, home viewing in the 80's was all about cropped pan and scan versions for the VHS/TV market. Though I enjoyed watching many films this way, it’s funny when you don’t know what your missing (Widescreen? 35mm? These were words I had no concept of until at least 14). Considering now too, thanks to DVD, we are all presented with films the way they are meant to be seen - most of the time, and take it for granted. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">My point is that when films started making their way onto widescreen editions on VHS etc, my cinema brain went into overload trying to re-watch all the films I loved pan and scanned in their original design. Case in point, <em>Dirty Harry</em>. A film of Clint's I always liked, but figured it was just a run of the mill exercise with a great central character. Once I saw director Don Siegel's full cut however, I realised how much of a great film it was, and how unique it would have been back in '71. Pre-emptive to the stark quality of urban American cinema in the 1970's, something <em>Mean Streets</em> took too another level soon after, <em>Harry</em> became for me one of my first appreciations of things being shot on film too. The framing and exquisite widescreen photography of San Francisco gave the film a completely new dimension. The zooming out of Scorpio on the roof in the intro and the extraordinary scene on the football field are classic examples of just how much such a thing can make a difference. The film is a major technical achievement that I think many are unaware of. Unfortunately, I have not yet seen this on Blu-ray, but rest assured it would be a mini-celebration when I do. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">At its core though, still is the story, the script, Eastwood's Harry Callahan and probably the most underrated feature of the movie, Andy Robinson’s portrayal of the film’s serial killer, Scorpio. One of the best bad guys in cinema history. Robinson, the unlikely British thesp candidate for such a role, excels in bringing a human quality to the killer. Because despite his menace, his vulnerabilities exist in plain sight. He may be evil, but he is also a fool and when faced with the unyielding Callahan, his cowardice is brought to the forefront. To me, he was the perfect foil to the stoic Harry. Perfect for the audience too, as he garners no sympathy, making it even more satisfying when he finally meets his end at the hand of Harry's .44 magnum. Plus his shriek when stabbed in the leg is unforgettable.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Then of course, there is Callahan. Eastwood's intensity when on duty is only matched by his almost laugh-out-loud, cool demeanour when relaxed. When asked by a male physician to remove his pants after Harry declines to have them cut off, he replies, "You can turn your back if you’re embarrassed". This kind of dry wit remains classic and even though the sequels eventually become a parody of what made this film so good, Callahan’s zingers never disappoint throughout them all. The humour in general in the film is mischievous (witnessing the beginnings of a threesome while looking out for Scorpio; "You owe it to yourself to live a little, Harry") but always countered with some sudden suspense or action. The infamy of the "Do you feel lucky?" speech still holds its power too, though only when it is repeated to Scorpio at the end with added vehemence. The disappointing <em>Gran Torino</em> will always resemble a pseudo-<em>Dirty Harry</em> film in some ways to me because of how much Eastwood does dwell back into such a similar character. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Finally, the music needs to be mentioned. One of the best originals of the movie's era, the jazz fusion/psychedelic rock sound scapes feel not just ahead of their time, but a classic example of melding score and visuals to create a truly urban vibe. Its influence on similar films and TV is undeniable. Filled with great little scenes to break up the seriousness of the suspense, alongside it’s exceptional direction, this film just does not bore me on any level no matter how many times I watch it. Is it too inappropriate to say it's a guy thing too? Not in a steroid explosion <em>Expendables</em> kind of way either. <em>Dirty Harry</em> is loaded with testosterone - another trait of the films in its decade, but the kind that seems to come from just being cool.</span></div>
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</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-73647993574776947462010-12-31T00:11:00.014+08:002012-01-26T14:57:50.822+08:00Blue Valentine (2010)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">Set in an unknown, unimportant time and place, <em>Blue Valentine</em> is the story of a couple, Dean (Ryan Gosling) and Cindy (Michelle Williams). As well as their young daughter, Frankie (Faith Wladyka). The story, in the direct sense is about their first meeting, their falling in love, marriage and eventual divorce. However, the film never plays it that straight. And it doesn’t always limit itself to questioning only their relationship. It goes beyond one couple's existence, inevitably analysing the notion of what love can mean between any two people. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Beginning in (their) present day,<em> Valentine</em> cuts back and forth between past and present deftly, juxtaposing the beginnings of the characters and their relationship alongside exploration of their current situation. Straight away, it seems we as an audience should celebrate that such a narrative is not sullied here. It may dwell in one place for a short while, but soon enough, a corresponding previous memory is upon us, without warning or patronizing title cards. I would say you have to try to keep up, but ultimately the film is so well versed in its own structure, that I do not have too. Everything is obvious and it is perfectly timed. The remarkable editing seems to exist to merely complement us. A scene where Dean notices Cindy for the first time for example, is ended suddenly, only to reveal its importance many scenes later in her back-story. The subtle achievement of this moment is surely one wannabe directors will consistently admire. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">The film making style is at one with the material, never overly intrusive or jarring, but devastatingly close. A fly on the wall account of the burgeoning and demise of a relationship. Simultaneously. One of it's strengths, besides the performances of our two leads, is the latter realisation. Mainly because though a handheld approach is the chosen display, we are not in mile-a-minute Paul Greengrass territory; we’re simply <em>there</em>. In the midst of the turmoil and indeed, the happiness of these people, it takes full advantage of the technique. As the film goes on, this typically modern day approach becomes essential, almost profoundly necessary.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Ryan Gosling and Michelle Williams give performances that can only be described as remarkable, disturbing and uber-real. To question if real life experience had come into play for their research is declaring the obvious. They are almost <em>too</em> real as the battered, once intensely in-love couple. Flawed and perfect like all of us. Thus, the achievement of <em>Valentine</em> lies just as much on their shoulders as it does the young director. You cannot fake what happens in this film and anybody who has ever experienced a long-term relationship, whether in a positive or negative way, will no doubt have some scenes resonant uncomfortably. What is ad-lib and what is script essentially becomes a blur, only leaving you knowing that in both ways, it comes from a real life experience, and not something Hollywood would ever bank on. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">To try to give an overall impression of the movie, intensity in every scene seems to be the goal, and <em>Blue Valentine</em> is not for the faint hearted - even for drama addicts. And after the flamboyant end credits roll, you could walk away filled with the satisfaction of what films still have the power to do. Nevertheless, you could also possibly be scarred, or perhaps left to dwell on memories you did not want to disturb. Maybe you would walk away hating these people and the film, cursing the realism of (director) Derek Cianfrance’s world. If, in 2010, a film can do all these things and remain still, at its core, a remarkable piece of art, it deserves praise from me.</span></div>
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</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-61591324728842822982010-12-12T00:17:00.008+08:002012-01-26T14:57:58.517+08:00Green Zone (2010)<div class="separator" style="border-bottom-color: currentcolor; border-image: initial; border-left-color: currentcolor; border-right-color: currentcolor; border-style: initial; border-top-color: currentcolor; border-width: initial; clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">Set almost directly after the US invaded Iraq in the search of WMDs in 2003, <em>Green Zone</em> follows Military Chief Roy Miller (Matt Damon) as he leads his squad through an anarchic Middle East environment heroically looking for said weapons. Constantly coming up with “a donut” at the end of his missions, he becomes increasingly suspicious of how the intelligence he is receiving is leading him to dead ends. With the help of a paranoid Iraq citizen, a CIA agent (Brendan Gleeson) and a strong desire to make a difference in the face of war, he takes on a risky path to the truth.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Despite the talent behind it, on the surface, <em>Green Zone</em> still sounds a bit clichéd. A potentially harsh call as it aims to be an action film first, and serious political commentary second. So yes, we still have a slightly predictable “bad guy” and plot development, but they are clichés this type of film cannot exist without, where they ultimately sit, barely noticeable, in a very mature-minded film. Damon - through a stellar script, takes control of his character, and dominates his (almost permanent) time on screen. He does feel familiar given the previous collaborations between director and star, but regardless, it is a convincing and dramatic performance. Support from Gleeson and Greg Kinnear, as US Admin puppet, Clark Poundstone, is particularly good. Serving as Miller’s contact/interpreter “Freddy”, Khalid Abdalla, is a honest portrayal of a desperate Iraqi as one could hope for from Hollywood.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">The movies true strength is mainly derived from Brian Helgeland’s very intelligent script, which most rewarding of all, feels authentic. Dialogue is razor sharp and, as expected, all very “military“. Not in the sense of technical jargon, but more that its delivery and the actual words feel just right. Obviously crucial when dealing with real world settings like here. In its typical Greengrass style, the film is full throttle, the score used to great effect alongside some of the jaw-dropping editing. With this film, you are in; two hours later you are out - left to deal with the sensory overload. The fat trimmed to the point that no scene feels pointless, the story constantly moving forward via video game velocity. The epic foot chase finale is as bewildering as it is intense. Greengrass’ forte is at the hilt with it. The manic, handheld style of the director alienates many, but it can be argued that to match the intensity of such situations, it is the best approach. Given it has virtually taken over the contemporary action genre as well, trying to embrace it can still go both ways.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Nevertheless, and much as previous films made about Vietnam for example, a political stance begs to be made. Similar to <em>The Bourne Supremacy</em> (another Damon/Greengrass collaboration), and against the usual Hollywood approach, the director allows the action to simmer off at the end, leaving poignancy to finish the film. <em>Green Zone’</em>s statement is hardly subtle, and won’t impress supporters of the war depicted on screen, but overall, it is an action film primarily aiming to entertain. This it does, proving to be one of the best contemporary efforts in recent years.</span></div>
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</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-19065877514231688992010-10-24T09:23:00.003+08:002012-01-26T14:48:13.501+08:00American: The Bill Hicks Story (2010)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">After want seems like years of build up, a documentary about legendary comic, Bill Hicks, has been finished and out into the world. Often insightful and obviously funny, it should be said that <em>American</em> is in no way a fence sitting approach to Bill Hicks the man, or his legacy. This is a doco made by people who loved him for people who loved him.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Its presentation is a unique one. Besides during the bookends of the film, there is no talking heads here, being entirely voice over for the majority by the handful of people included, with most of the story being told via Bill’s older brother, Steven Hicks, friends Dwight Slade and Kevin Booth. The talking presides over photos, home video and plenty of photo animation that is exceptionally done. This approach is novel at first as we learn about Bill‘s childhood, early teen years and his first open mic experiences etc, but it threatens to become repetitive. Just in time though, the film changes gear to include a lot of Bill’s routines that breaks up the pace nicely making the film eventually considerably engrossing. However, in my opinion, non-Hicks fans will probably struggle to get through. It wasn’t made to get an Oscar nomination for example. The film’s greatest benefit is that it <em>will </em>appeal to established fans the most. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Perhaps a collection of celebrity inspired talking heads would prove to be a more acute documentary about Bill, but this film is probably as good as a fan could want (besides, the brief <em>It‘s Just a Ride</em> from a few years ago provides that). <em>American</em> is, however, without doubt a hundred minutes or so that delves into Bill Hick’s life in a way that has not been done before. It provides insights into his youth and his feelings about drugs and his eventual diagnosis of cancer, without all that celebrity baggage. It is a refreshing approach. Unfortunately, a problem exists within it's method that Bill himself is never shown in an interview in the film. All we see of Hicks is his (some very rare, some not) routines and photos. Obviously a clear decision by the filmmakers, it seems to me a possible mistake not including reactions and/or opinions on moments in time from the man. Luckily everybody else involved prove extremely honest in his or her reflections, but perhaps that missing component is what prevents this unique doco becoming a definitive work. Also, the thoughts of Bill’s father are clearly missed, himself passing away just as filming began.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Ultimately, my final judgement is bias given I am a big fan of Bill Hicks and his material. I can say that as a documentary it is slightly lacking, despite providing a sensitive record of his extremely short life. Though not claiming this film provides everything one craves from the idea of a documentary on Bill Hick’s life; it remains informative and highly recommended for fans, but perhaps merely a curiosity for non-ones.</span></div>
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</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-63068574606944237682010-10-17T16:41:00.012+08:002012-01-26T14:58:14.945+08:00The Town (2010)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;"><i>The Town</i> deserves to be called very good, being extremely well constructed and consistent in almost every aspect. It’s far from being the perfect genre flick, and perhaps with a bit more experience under his belt, director Ben Affleck in future will be able to iron out the kind of things that prevent it from truly being brilliant. Or rather, expand on others, because while it is severely entertaining, it spreads itself from action piece to heavy drama without truly capitalizing on either. His striking potential (as director) is completely cemented with <em>The Town</em> however, which followed his acclaimed debut, <em>Gone Baby Gone</em>.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">The film everyone seems to beg to compare it too is Michael Mann’s 1995 masterwork, <em>Heat</em>. There are a few moments that homage that film, but overall, there seems to be little in common besides the central figures being bank robbers; the epic nature of <em>Heat </em>is also virtually absent. <em>The Town,</em> despite the action<em>, does</em> feel less a traditional heist movie than an urban drama anyway, merely set amongst the lifestyle. That’s a good thing, separating itself and becoming fairly unique - regardless of the clichéd nature of some of the story. The Boston location probably helps in this regard too. From an editing point of view, it is really well balanced and tight with it‘s set pieces. Think the last two Bourne films, but dropped down a few notches. In fact, no scene really feels out of place or wasted. Affleck is on his way to being to Boston what Scorsese or Allen is to New York too. Just like in his debut film, the city and it's people are showcased with gritty love. The film has a truly urban feel. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Co-stars Jeremy Renner and Rebecca Hall were great; Renner particularly convincing, and cameo appearances by veteran Pete Postlethwaite were excellent. John Hamm, as the lead FBI agent, is a surprising asset. Shedding his Don Draper persona (from TV’s <em>Mad Men</em>) with ease while given some cracking dialogue, Hamm definitely stamps his presence on the movie. Ben Affleck I felt however, was pretty impressive. His best performance since perhaps <em>Good Will Hunting</em>. Most of all though, every character is realised very well. The crew especially - you didn't question the authenticity of these guys; they were hardened 20-something crims and you believed it.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">The flaws are notable but didn’t bring the film down for me - for some they will. Despite being a genre institution, predictable is a word that can definitely apply to the overall story, but mainly it was the central relationship between Affleck and Hall, that lacked believability considering the circumstances, that hurts the film the most. The motivation from both sides are muddled here, and even though it did service the story well, it also led to an ending that was…well, the schmaltz really was a bit much for me personally. Think "chick flick" territory. The final set piece was possibly slightly underwhelming too, even though it’s clear to me, the robberies themselves are not meant to be the focus. The action direction regardless was first rate. Affleck’s robust direction throughout, keeping the story tight and streamlined, along with engaging dialogue and great performances make <em>The Town</em> worth your time, if the blueprint is your type of thing of course.</span></div>
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</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-46863385573187494032010-09-30T23:05:00.002+08:002012-01-26T14:58:07.665+08:00The Magician (2005)<div class="separator" style="border-bottom-color: currentcolor; border-image: initial; border-left-color: currentcolor; border-right-color: currentcolor; border-style: initial; border-top-color: currentcolor; border-width: initial; clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">To paraphrase leading Australian critic, David Stratton, “Not everyone is going to like the idea of spending an evening at the cinema with Ray”. Ray being of course being the protagonist , the hitman, that grinning guy on the posters and basically the fellow we are locked shoulder to shoulder with ‘home video’ style for almost the entire length of <em>The Magician</em>. To count disliking Ray to the point of not being able to enjoy or even watch the film is not wrong, but rather maybe missing out on what an accomplishment this film is for it’s young writer/director/star, Scott Ryan. Fresh out of film school and made with merely three thousand dollars of his own money, Ryan’s <em>Magician</em> is an excellent example of what can be achieved when you have passion and ability. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Most of the script appears improvised so it‘s hard to decide whether it‘s a work of great writing or performance, but regardless, what is said in the film is it’s strong point. Ryan’s snappy dialogue and matter-of-fact observations, delivered mostly direct to camera, even rivals much of Tarantino’s glossed pop culture oscar winner, <em>Pulp Fiction</em>. Of course, Ryan clearly retains an influence from the banana chinned boy wonder. Whether it is discussing Clint Eastwood’s appearance (or not) in <em>The Dirty Dozen</em>, sleeping next to another bloke with no pants on or the moral dilemma of Wayne Carey banging his best mate’s missus, Ray is philosophical, funny as hell and never short for words. It took me a while to get into the flow, but once I did, I was hooked and the curiosity of what was to become of Ray’s in-toe victim, Ben became overwhelming.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">With well over eighty minutes shot, the editing (done by three separate contributors all up) deserves a lot of credit especially for making the last half of the film so interesting. As we’re looking through nom de plume Max’s (our narrative device of a man so intrigued by Ray, he wants to follow him through his day to day) camera the whole time, I do have my reservations in saying this was well directed. Completely handheld, the film comes off as very loosely structured. At the same time however, it is hard to deny the film is all the more convincing because of it. Perhaps this was a deliberate approach to make it seem shot by an amateur more than it actually is. This is a character driven piece, and drawing us into Ray’s world via this style is possibly a stroke of genius in hindsight.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Overall, it’s not just the entertainment value that makes <em>The Magician</em> a winner, because like him or not, Ryan’s performance as Ray is excellent, but it proves what can be achieved without major funding in this country. Certainly it took a few decent producers who got their hands on it and do an ace job of getting it on our cinema screens, but considering how often people complain about the ‘type’ of films Australia comes out with, a lot of them must be missing the talent that is right under their noses.</span></div>
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</span>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-26677048493893333362010-09-20T22:43:00.005+08:002012-01-26T14:58:24.391+08:00The Host (2006)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;"><em>The Host</em> is without a doubt expertly directed, and the star of the film is probably the most interesting creature creation since Stan Winston’s Kothoga (from <em>The Relic</em>), but it never really impressed as much as the films it’s being compared to. These being such iconic fare as <em>Jaws </em>and <em>The Thing</em>. Maybe the hype machine had too much influence, but I think because it is in essence more a drama than a creature-feature, means that it doesn’t quite reach such similar or stellar company. It is it’s own victim in that sense, because while it is a good film, it holds little to offer on repeat viewings like those films do. It won’t let you settle into a specific mood for example. Describing the film is an issue in itself. Director Bong Joon-Ho probably summed it up best himself when he said that it is less a monster movie and more a film about a kidnapping, where the kidnapper just happens to be a mutant amphibian.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Stripped to it’s core, <em>The Host</em> is about the importance of family bond and how that bond can shine through during crisis. An already struggling unit, our family - the Parks - must deal with the unthinkable: The youngest and brightest spark in their clan has been taken, presumed dead, not by a man, but by something that just shouldn’t exist. Joon-Ho sets up this idea nicely by having the creature born from nature - and of human interference no less, as opposed to something supernatural or otherworldly. The grounding of the movie in a recognisable family reality is probably it’s greatest strength. Like the Park family, you just accept what happens and deal, and in the end, it’s not that much of a stretch.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Various arguments surrounding the reveal of the monster I've always found slightly tenuous because for all it’s refreshing glee, the scene in the park - indeed, the monster itself - is merely the catalyst for the main idea. Besides, when your creature design is this cool, why not show it off more? I actually praise Joon-Hu for being so un-subtle and almost blasé in his approach with this jaw dropping moment. It was superbly satisfying that not 20 minutes into <em>The Host</em>, we see a full shot of the creature diving into the river while curious gawkers scratch their heads, leading into a fantastically directed sequence where our slippery beastie asserts his need for breakfast. Yes, the best bit with the monster (but certainly not the last) is done less than half an hour into the film, but like I said, this isn’t<em> Jaws</em> or <em>The Thing</em>, so being patient is rewarding in different ways here.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">To it’s credit, <em>The Host</em> still belongs in the same category as the above mentioned films because like them, it’s strengths lie in it’s ability to create a human situation around the monster that’s both compelling and interesting. It just doesn’t do it as well as Spielberg or Carpenter’s respective masterpieces. Unfortunately, it also suffers slightly from the same old genre clichés as well as being a tad too long despite an action packed finale. It remains a 'must see' for it's striking cinematography however, interesting performances which include some great borderline slapstick comedy, a not so flattering portrayal of the US government and of course, the creature itself is worth the price of admission alone..</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">The identity crisis suffering screenplay does lead you astray at times, but it’s definitely above your average Hollywood blockbuster, and even though being Korean might make it cooler; it doesn’t necessarily make it that much different. But then again, <em>Cloverfield </em>proved that being unique in the monster game, doesn’t always save you from disappointing cliché either. <em>The Host</em> is better than that film, and an overall recommended achievement.</span></div>
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</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-51729551581731712632010-09-19T12:12:00.002+08:002012-01-26T14:58:37.233+08:00Global Metal (2008)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">I don’t really want to compare <em>Global Metal</em> with <em>Metal: A Headbanger’s Journey</em>, but when in the introduction, our familiar world weary anthropologist metal-head from that film, Sam Dunn, reminds us that he did indeed make a film about metal culture before this one, it’s hard not too. And in that sense, this is the inferior documentary, but by no means a bad or uninteresting one. I’m not sure if it was ever supposed to be viewed as a “sequel”, but specifically, <em>Global Metal</em> does just feel more of an afterthought and lacks the weight, enthusiasm and resources of it’s predecessor to carry it through completely. Perhaps the passion of our buoyant young filmmakers has dwindled after the successful first film, or maybe it would have faired better as a TV special or series, because trying to be another cinematic looking feature doco, that AHJ was so successful at being, is probably it’s biggest downfall - at least in the beginning.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">The travelling focuses on Asian culture the most, but we start in Brazil which probably has the biggest metal following in history out of all the countries visited. This is mainly pinned down to a staging of a gigantic 10 day festival, ‘Rock in Rio’ in 1985, which saw over one million Brazilians embrace the term “metal-head”. Ironically, this is where <em>Global Metal</em> struggles a bit to maintain interest. Though the mammoth crowd shots are impressive, there’s little added to it’s importance beyond that the country then went on to produce the hugely world wide popular band, Sepultura - with one observer claiming they are as important to Brazil as “Pele or the Amazon”. Given Dunn’s eventual intent though, it’s easy to see why dwelling on the band and their influence would have been missing the point. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">As we travel to more obscure realms, it’s clear Dunn looks slightly bemused (but almost awed as well) when faced with how underground metal actually is in places such as India where no major metal bands have ever even played. On the other hand is China, who also has had no major metal gigs, and needing import bootleg CD’s to discover even the most bland western music, still thrives and produces world class metal. The contrasts throughout are very interesting, and provide the beginning of a much more intriguing element to the doco. Ultimately, I don’t think they’re explored enough at the start - I kind of felt a little cheated each time we moved cities, asking myself, “that’s as far as we’re going?”. I was hoping seeing fifty kids embracing a local metal gig in India wasn’t the point here, while at the same time understanding that when you simply don’t have material to use, you can only stretch it out so much. It turns out the ‘meat’ of the doco is saved for the more controversial of major cities.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Arriving in Indonesia we witness that, unlike similarly hugely populated countries like India and China, Indonesia has been fairly well exposed to metal which culminated in a massive Metallica concert in the early 90’s, leading to all rock gigs being banned on account of some ticket holders - who were not let into the show - tearing up the streets in their frustration. The footage of the actual concert amidst the chaos is compelling and Dunn does well to lead the film into a more religious themed topic of what it is like to be a young metal loving Muslim in a post 9-11 world. By the time we get to Israel and Dubai, the point and the relevance of the religious ties to metal is at the forefront.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Perhaps I was just being impatient with GM, because Dunn’s anthropological spirit shines through in the last half of the film and we’re left with an eye opening, well made, if sometimes disjointed look at how universal metal is as an art form, regardless of culture, and indeed that it can be a very positive thing in the right places. Considering that was probably the doco’s point too, I say good effort. The Iron Maiden concert climax is brief, but a fitting closure and confirms that AHJ was no fluke. It seems Dunn and co. have cornered the market of metal on film.</span></div>
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</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-14730159706285187632010-09-19T11:43:00.002+08:002012-01-26T14:58:48.657+08:00Gonzo: The Life and Work of Dr. Hunter S. Thompson (2008)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">Opening with Hunter S. Thompson’s written reactions to seeing 9/11 unfold on TV, Alex Gibney’s <em>Gonzo</em> thrusts us into the idea of Hunter first as a journalist, a rebel, a successful writer, a political campaigner and finally a man, the product of all his excesses, who was loved and admired by many. In-between detailing the author’s rebellion, out of control gun enthusiasm and drug use, we focus on only three major writings of his - his breakthrough novel; ‘Hell’s Angels‘, his most popular work, ‘Fear & Loathing in Las Vegas’ and arguably his best work; ‘Fear & Loathing on the Campaign Trail ‘72‘. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Gibney gives us a cross section of interviewees, hearing mainly from his former wives and son, Juan Thompson, various ex-politicians including George McGovern and Jimmy Carter plus his Rolling Stone editor and contacts during his prolific 1970’s period. Friends and peers are present too of course; Ralph Steadman, Tom Wolfe, Jimmy Buffet, but most notably Gibney avoids the trap of having an onslaught of celebrities reminisce about Hunter which helps to give the audience a more serious view of his importance to journalism and American politics, at the same time successfully evading or rehashing comments or ideas from Tom Thurman‘s 2006 slimmer documentary, <em>Buy the Ticket, Take the Ride.</em></span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Put together with a both a professional, yet at times clunky pace, Gonzo combines large amounts of archival footage and photos with narration by Johnny Depp, who reads from - and is sometimes shown reading, relevant passages from Hunter’s writings. The biggest coup, however, is hearing various excerpt from Hunter’s own tape recorder - showcasing unique “in the moment” time capsules with the writer whilst on his wild escapades of gonzo journalism.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Ironically, the film’s most awkward moment is when focusing on his most popular novel, ‘Fear & Loathing in Las Vegas‘. The director spends far too much time showing clips from Terry Gilliam’s film adaptation and not enough exploration via the interesting Depp reading device or Hunter’s at the time comments - the segment certainly stamps the novels importance, but the overuse of movie footage crucially breaks up the tone. It’s a rare moment of ill judgement on Gibney’s part, but the following sections on his political campaigning alongside George McGovern and his influence as a journalist on American politics during the late 60’s, early 70’s retain the best moments of the documentary. These plus an earlier part which shows in detail Hunter’s attempts to run for Sheriff of Aspen, Colorado. These are poignant moments and one where ex-wife, Sandi Hunter recalls the latter being Hunter’s greatest moment, “having the passion to move people”. Not to be over-awed, the director exposes the clear buffoonery of the man also, countering the praise with obvious moments of ill judgement and unreliability by Hunter throughout his life, which lead to, amongst other things, his inability to re-create interesting work in his older age.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">As the film moves onto Hunter’s suicide, the atmosphere shifts and even though his son admits “that it was no secret“ his father had planned to kill himself for many years, there’s a difference between that and it actually happening. Above all, the emotion is still clear on some of the interviewees recorded not three years after the event. Appropriately, we are shown the construction of the 'gonzo fist' tower Hunter had organised for his funeral and we’re left with the feelings of if only he’d waited, or perhaps not killed the man over the myth. A man that Tom Wolfe describes as probably being “trapped in gonzo”. Though not definitive, and possibly falling into the trap of clichéd eulogizing a times, <em>Gonzo</em> is still recommended for fans of Hunter, anyone with an interest in American politics or who just want to see what effect a flawed visionary can have on people and culture.</span></div>
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</span>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-73222460778433006862010-07-26T23:25:00.004+08:002012-01-26T14:58:57.707+08:00Inception (2010)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;"><em>Inception </em>will be a film that will be considered like no other by many. At its core, it deals with the notion of entering someone’s dreams. Sharing their dream. Implanting an idea into someone’s mind by literally going into it. It’s a heist movie where the prize exists in someone’s subconscious, populated by - occasionally aggressive - “projections”. Sounds like something Phillip K. Dick would conjure up, and certainly not something that is found in a blockbuster too often without seeming overly corny. The fact that <em>Inception</em> doesn’t feel that way can be attributed to director Christopher Nolan’s extremely solid and original script, and the unique aura that carries it. Complex is one word to describe the film, but then so is action and emotion. Though it doesn’t quite reach its desired effect with the latter. Either way, it is a movie that deserves you to enter it with as little expectations or knowledge as possible. Suffice to say, there will be no synopsis from me and definitely no spoilers, but perhaps wait until you see it before you read this. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Theories already abound the internet about the nature of the story. Is it all a dream? There are various hints that support various theories, but in the end, the real appreciation of the film for me is what Nolan has achieved as director. A scene towards the end is done in a such way that endless debate is a given, let alone the desire to re-visit the film and delve deeper into what it all means. This is a man who respects what an audience deserves. Like his films, <em>The Prestige</em> and <em>Memento</em>, Nolan has once again altered the literal act of making a film, to create another truly unique experience. Everything about <em>Inception</em>’s construction is reminiscent of a dream itself, and further proof that Nolan prefers to invent his own rules when it comes to his approach to direction. So-called dream logic is the main guideline here. That logic, as explained to the audience within the film, is employed in several subtle ways throughout. For example, some may claim that us entering scenes with no real illustration of how we got there is a possible flaw of the screenplay. But this is the film operating in the dream logic, the very same that is explained to Ariadne, ’The Architect’ (Ellen Page), by Cobb (DiCaprio). There are other examples including an intriguing chase in Mumbai early on. What all this reveals at least is that Nolan is constantly working beyond the surface and tempts us several times to delve deeper with him. Amazingly, purely on the surface, it is still a very solid, intelligent action film as well. Something that makes it feel like an almost futuristic Bond film at times. Something Nolan has acknowledged as an influence. It can, and should appeal to everybody. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Unfortunately, it was probably inevitable that given the complexity of the narrative, and the no doubt mega-tough shooting schedule, clunky moments would exist, preventing the film from earning any ‘perfect’ tags. However, it is namely in some of the more generic action choreography. A snow covered ambush by Cobb’s crew for example comes off as straight-to-video hurriedness at times, though this may be the fault of a second unit on the film. It's overall relentless pace helps you forget such minor quarrels however. This is 140+ minutes that felt almost half that for me. Nolan’s last effort, <em>The Dark Knight</em>, suffered from being overdrawn in its final act. Here, <em>Inception</em> does not overstay its welcome in that regard. Constantly moving, adding layers and bewildering us with glorious cinematography, catching one’s breath is not easy when the final act’s ball starts rolling. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">So under all its psychoanalysing weight, does Nolan’s film topple like the integral 'totem' seen in the film? Well, no, but casual film goers should be forgiven if they happen to lose their way in the second half. Descending through level upon level of dreams within dreams and various states of limbo, all within it’s own time frame that naturally varies to ‘real time‘, which we are also cutting to as a lot of the action is going on, can easily become a delirious overload if you’re not fully tuned in from the very beginning. The balance of the films sci-fi branded story however, and it’s instant satisfaction of blockbuster action - including a mind boggling ‘how did they do it?’ moment involving a fight in a hotel corridor at virtual zero gravity, is one of it’s greatest strengths. One that may turn blockbuster expectations on its head now that it has finally made its mark on the film going public after so much expectation. Wait, didn’t he do that with TDK already? </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Most of the characters besides our central figure, Dom Cobb, serve their purpose, but we are not really given a chance to invest in them overly. Then maybe that is the point. Our focus is on Cobb and all the emotion is based around him. Leonardo DiCaprio, as Cobb, gives a strong performance, especially considering it follows his extremely impressive turn in <em>Shutter Island.</em> Unfortunately, his emotional journey didn’t resonate enough, and as we go deeper and deeper into his troubled past, the pay off had me more predictably satisfied than moved. The rest of the cast featuring Ken Watanabe, Marion Cotillard, Cillain Murphy, Ellen Page and Joseph Gordon-Levitt as Cobb’s off-sider, Arthur are solid. The latter being the pick of the bunch. Tom Hardy as ’The Forger’ provides some nicely placed wit that may surprise some, but the film benefits from having an off beat sense of humour trailing through it. In addition, seeing Tom Berenger, albeit briefly, up on the big screen again, was welcome. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Overall, <em>Inception</em> is an exhilarating experience. One that stays with you long afterwards - like all good films should. To not embrace it, at least as an example of a director looking to try to push the envelope (both in narrative and indeed, mechanics of film structure), is possibly missing the film’s (and its creators') overall vision. Cliché and archetypes may still exist in Nolan’s world - unavoidable when trying to please everybody, but this does not erase the fact that he remains a director looking to redefine what can be considered mainstream movie entertainment. Whether he has achieved that with <em>Inception</em> is of course, all about personal preference, because no one person’s opinion is neither right or wrong. I'm just glad it is here, <em>to be</em> experienced.</span></div>
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</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-19415081434603672342010-07-13T22:03:00.003+08:002012-01-26T14:59:19.512+08:00Harry Brown (2009)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">Harry Brown (Michael <span class="blsp-spelling-error" id="SPELLING_ERROR_0">Caine</span>), an ex-marine and Northern Island pensioner, lives in a much maligned apartment block in South London that is overrun by violent youths. His wife is dying in the hospital and his best mate, Leonard (David Bradley) - with whom he plays chess with in the local pub, is intensely frightened by the goings on in their neighbourhood, and feels forced to carry around an old bayonet for protection. Harry visits his wife everyday, but always avoids a quicker route to the hospital via an underpass, as it is a favourite hang out of the aggressive troublemakers. This proves costly as one night he receives a phone call alerting him to his wife’s worsening health. Avoiding the shortcut again, he arrives too late to find she has died. On top of this, a few days later, Leonard is accosted after a gang of youths vandalise his home and is murdered by his own weapon. This proves too much for Harry and his disheartening faith in a weak police effort to do something leads him to take methods into his own hands.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">The film is the debut from director Daniel Barber. It’s a simple story, but his previous background in commercials comes through in Harry Brown, as the camera movement is stark, but fluid. The editing precise. It is classic stylish <span class="blsp-spelling-error" id="SPELLING_ERROR_1">filmmaking</span> and the film is much better for it. The only “shaky” cam we get here is in a shocking home video <span class="blsp-spelling-error" id="SPELLING_ERROR_2">pre</span>-credits sequence. This intro sets the tone, and Brown <span class="blsp-spelling-error" id="SPELLING_ERROR_3">doesn</span>’t pull its punches when it comes to its violence. Some <span class="blsp-spelling-error" id="SPELLING_ERROR_4">CGI</span> blood looks a bit out of place in moments, but its graphic nature cannot be denied, though in no way does it really come off as gratuitous. It earns its <em>Death Wish</em> comparisons for sure, but this is no brainless action entity either. Its moral code is questionable, but not alarmingly so.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">The film takes itself very seriously and strives for realism in all aspects. It is a shame then that in some ways Brown is a bit far fetched. Of course, sacrifices sometimes need to be made to forward a plot, but when a film invests as much in its emotion as it does here in its beginnings, a stumbling police sub plot and motive hinders the script occasionally. A weak plot point towards the end is used for a tense (if cliched) final act, but comes off more as a tacked on device rather than having any sort of relevance. Surprisingly, these things still do not really take off any of the emotional weight the film carries itself on from the get go. Martin Phipps dreary, manipulative score helps to keep you there, but it is Michael <span class="blsp-spelling-error" id="SPELLING_ERROR_5">Caine</span> at its centre that makes it all work.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;"><span class="blsp-spelling-error" id="SPELLING_ERROR_6">Caine</span>’s Harry is yet another notch for the veteran actor’s belt. His transformation from weak, frightened senior citizen to calculated avenger is realised excellently. His performance is a classic slow burn achievement. Rather than pushing, Barber trusts his star and <span class="blsp-spelling-error" id="SPELLING_ERROR_7">Caine</span>’s emotional nuances and at times intense scripting help <em>Harry Brown</em> achieve a believability through his acting. Emily Mortimer gets a majority of the screen time besides <span class="blsp-spelling-error" id="SPELLING_ERROR_8">Caine</span>, and her role as a police detective alongside partner Charles Creed-Miles is solid enough to be convincing. The several gang members are played with disturbing authenticity, which ramps up the intensity whenever they are on screen. Also good is Liam Cunningham as pub owner, Sid. A small but pivotal role in the drama.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Overall, I enjoyed <em>Harry Brown</em> a lot. It is an extremely stylish, dark and heavy hitting revenge drama. It will not sit well for some casual viewers to be sure, but as a human justice thriller for adults, it is a healthy addition to the genre. For Daniel Barber, its young debut director - albeit aided by one of Britain’s finest actors, it is an impressive first film and definite step in the right direction.</span></div>
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</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-25948772709763887492010-07-04T16:44:00.000+08:002012-01-26T14:51:21.780+08:00The Black Keys - Brothers (2010)<div style="text-align: left;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">As a dedicated fan since the release of their second album, <em><span class="blsp-spelling-error" id="SPELLING_ERROR_0">Thickfreakness</span></em>, it’s comforting witnessing a band evolve the way The Black Keys have. Their willing journey to experiment has yielded possibly their best achievement so far with <em>Brothers</em>. That journey, that has seen them move away from the stripped down basement fuzz production of a lone drum/guitar ensemble of the earlier records, to performing and producing a unique hip-hop record (<em><span class="blsp-spelling-error" id="SPELLING_ERROR_1">Blakroc</span></em>) to releasing the first thing that fully embraces every instrument and arrangement at their disposal. If producer Danger Mouse showed them the potential with a few keyboards on the excellent <em>Attack and Release</em>, <em>Brothers</em> proves that not only did the Akron duo learn from that, but utterly embraced it.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">One of the first things you notice about the album, besides the booming, glossy production values, is the fact that lead guitar is much less of a focus, and more of an element or component alongside the other instruments. This was apparent on <em>Attack and Release</em> to a degree, but not like here. There’s no spitfire angst like ‘I Got Mine’ for example (only second single, 'Next Girl' comes close). <em>Brothers’ </em>is decidedly percussion heavy. Driven by Pat Carney’s infectious beats, there’s still plenty of guitar skill being flung around of course, as Dan <span class="blsp-spelling-error" id="SPELLING_ERROR_2">Auerbach</span> is an evolving <span class="blsp-spelling-error" id="SPELLING_ERROR_3">bluesman</span> of the highest calibre, to omit it completely would be a foolish thing to expect. Here rhythm is his intent, though tracks such as 'She's Long Gone', 'Tighten Up' and a brief instrumental mid way through does bring the six stringer to the forefront a bit more just to reassure us.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">To <span class="blsp-spelling-corrected" id="SPELLING_ERROR_4">truly</span> hear how good <em>Brothers</em> is however, one needs to fully embrace and recognise the song writing, arrangements and vocals. In that sense it is the best possible, “expected” follow up to A&R, and fans of that album will probably love it. Lack of whisky inspired riffs and solos may have some wish for the pace and attitude of <em>Rubber Factory </em>or <em><span class="blsp-spelling-error" id="SPELLING_ERROR_5">Thickfreakness</span></em>, but you can’t hold a band back for playing what comes natural. More than anything, <em>Brothers</em> sounds very much like the destiny of the Keys. A sort of Blues-fusion utterly unique to the boys. After six albums, listening to songs such as opener, ‘Everlasting Light’ groove its way into your body, it just feels right that they sound the way they do now.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">While not all fifteen tracks do hit the mark, it matters little as the whole album flows superbly. The vibe being constant, with the fact that no real songs stand out being a positive for the album as a listening whole. The first half is much punchier and dance floor orientated, but a gradual move to the slower numbers of the final third of the album is sublime and adds to the overall replay value. These are the tracks where <span class="blsp-spelling-error" id="SPELLING_ERROR_6">TBK</span> have always been at their best too. Towards the end, we get Dan in his finest form, ‘Never Gonna Give You up’ is worthy of being alongside the Motown classics that inspired it. ‘These Days’, a beautiful closer. As expected, his lyrics centre around lost loves and painful regrets. Fusing Soul, blues and hip-hop, <span class="blsp-spelling-error" id="SPELLING_ERROR_7">TBK</span> have achieved a sound befitting their obvious intentions. <span class="blsp-spelling-error" id="SPELLING_ERROR_8">Auerbach</span> reaching status as a vocalist on par with his idols. Though some may argue he already had, On <em>Brothers</em>, he finally achieves a voice of his own, striped almost completely of imitation or homage. Overall, an exceptional addition to their catalogue.</span></div>
</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-79128382691389837072010-05-15T17:17:00.002+08:002012-01-26T14:52:19.307+08:00Iron Man 2 (2010)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">IM2 proves to be a bit of a hard film to rate. For all its fairly obvious flaws, it’s still a better than average blockbuster, but without question, no match for its predecessor. Initially, I was very concerned. It wasn’t instantly engaging like the first film, and there seemed to be a lot of lazy script moments early on. It certainly picks up and gets better as it goes along, but the first half an hour was pretty weak indeed. The first proper action sequence, set in Monaco, was a joke compared to anything in <em>Ironman</em>, and just plain silly for the most part. Main baddie, Ivan Vanko (Mickey Rourke), is introduced straight away, but his motives are not really explained well and feel wafer thin. Eventually the script kicks into what the movie is really about though; the development of S.H.I.E.L.D and The Avengers project.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">I thought it would be, but the involvement of numerous characters wasn’t so much of a problem for me. I definitely got a kick out of all the in-jokes and set ups for inevitable, down the line Marvel projects too (including a stay till after the credits moment much like the original film). In fact, it was Rourke of all people that felt most out of place. His performance was fine enough, but his Whiplash appeared only when really needed to forward Sam Rockwell’s Justin Hammer arc once the film got started and his much anticipated face-off against Iron Man and War Machine, with an absolute kick arse machine of his own no less, barely lasts two minutes. Scarlett Johansson and Sam Jackson at least served a larger purpose. Of course, Rockwell steals every damn scene he’s in as far as I’m concerned – including with Downey Jr’s ostentatious as ever, Tony Stark. The introduction of Rhodes was a cheeky surprise by Favreau, and to Cheadle’s credit, I actually thought the continuity might suffer slightly with a different actor, but after a couple of scenes, it was almost, Terrance who? Continuity outright is pretty good, though it does feel like a bit more than six months later as stated at the start.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">By blockbuster standards, it is definitely a decent sequel, but considering the first movie was an origin story, it didn’t seem to really build on too much beyond the Avengers stuff. Stark’s hedonism is certainly explored, his and his father’s true “legacy” is brought forward (and finalized) as the central theme, and Pepper is given a little more to do than just flirt this time. It makes little difference unfortunately in a fairly clunky script, that leaves little direction for a third film, especially when you consider how much Marvel push other ‘coming soon’ characters here. Thankfully, the one liners were still there, and pretty consistent (“I was here first. Get a roof!”). The humour overall was a strong point of the film.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">I didn’t enjoy it as much as other second comic book films such as <em>Spiderman 2</em>, <em>X2</em> or even <em>Hell Boy 2</em>, but it certainly wasn’t boring. The action is predictably exciting, the CGI flawless. Fans of the first film (which I love) will find many things to like in it, but IM2’s execution is certainly sloppier, less compelling and less smart overall. Rest assured for those having doubts though, it definitely ends a lot better than it begins, and almost certainly did leave me willing to suit up again for a third if it happens. Worth your time, though it is clear, Marvel is using this film as a stepping stone to bringing their entire universe to the big screen.</span></div>
</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-42417654062465573122010-04-27T22:31:00.005+08:002012-01-26T14:53:13.197+08:00Kick-Ass (2010)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">Bored from masturbation and the typical high school life of a nerd, Dave Lizewski (Aaron Johnson) one day decides to let his imagination take over. Sick of wondering the why of being an actual superhero, he decides to re-invent himself as one, calling himself Kick-Ass. As he costumes up and ineptly attempts to thwart minor crimes, he comes across Batman wannabe, Big Daddy (Nicholas Cage) and his 11 year old daughter, Mindy aka Hit-Girl (Chloe Moretz). Though their's and Dave’s intentions are similar, Hit-Girl and Big Daddy are the real deal, killing and (literally) taking apart New York crime. Particularly, a violent drug syndicate led by Frank D’Amico (Mark Strong).</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Appropriately titled<em>, Kick-Ass</em> is a definitely unique film despite director Matthew Vaughan applying obvious homage and certain formulas within its fast paced, blood soaked screenplay. That uniqueness for me mainly stemed from its ability to splice between the stark, semi-crude teen humour with severe dramatics (witness Kick-Ass’s attempt to stop two intimidating car thieves ending with the hard nose reality of such a situation). It may be jarring for some, but as the film goes on, it finds its vibe however multi-genre it ends up being, and still doesn’t <em>try</em> to be anything more than it was initially conceived as; pure comic book. In a sense, it’s understandable that some older critics have not been favourable – when it is in the mood, <em>Kick-Ass</em> wants you to feel the consequences whilst still happy bringing the jaw dropping anti-realism to its more violent action scenes. A frustrating experience for some no doubt.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">It should be said however, <em>Kick-Ass</em> really does do excel in those action stakes. Breaking up the story in jolts, it is filmed in a way that feels truly cutting edge, while still managing to acknowledge its inspirations in the execution. The John Woo–inspired gun play is outstandingly staged. In one sequence, blurring the line between video game and movie, an attack by our young female protagonist, and filmed through the eyes of a pair of night vision goggles, appears as a cutting edge FPS, adding a surreal quality to be sure. Is it an intentional device to help audiences separate themselves from seeing a child do these things? Is it suggesting movies are more akin to a video game than real life? Or is it done because it just looks cool...maybe the latter is closer to the truth, but I have a hunch there is more going on than just comic book action. Which, while its agenda’s can be an ongoing debate, there is no denying the obvious; <em>Kick-Ass</em> is a contemporary pop culture manifest complete with its own instant cult figurehead; eleven year old Hit-Girl. It will be difficult to avoid her impression in the near future, particularly if we’re talking sequels, which the film quite certainly sets up – true to genre form.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Knowing that all this carnage is perpetrated by an 11 year old girl merely makes it more exuberant in all honesty. Perhaps some have trouble accepting that violence, presented in certain ways, is very entertaining to a lot of people. Be it wielded by an adult male, 11 year old girl or crazed monkey, and a staple in blockbuster filmmaking. After all, <em>Kick-Ass</em>’s pint sized killing machine even rivals Quentin Tarantino’s Beatrix Kiddo. Vaughan showing he certainly owes a lot to that director’s own approach to pulp fiction and on screen violence as well. Performances are solid all round, and it would seem, that perhaps this, finally, is a presentation of 'Generation-Y' on screen that can be embraced as both realistic and a mock; while Mark Strong and Nicholas Cage relish the lines they’re given. Cage in particular is impressive dealing out the pain and the humour – his Adam West approach to talking whilst in costume is a highlight.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Feeling like the spawn of <em>Watchmen </em>and Judd Apatow, with a bit of Sam Raimi’s <em>Spiderman</em> thrown in, it succeeds admirably as a “comic book movie” more than anything else. Having never read the comic however, I cannot make comparisons as an adaptation. The film is definitely for a niche market and many will hate it for many different reasons, which means it will probably only ever retain relevance as a cult favourite. As someone who walked out of the cinema slightly bewildered by the sense of witnessing something so fresh for a change though, its few actual filmmaking issues or cliché stumbles, couldn’t fault the fact that it never stopped entertaining me.</span></div>
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</span>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0tag:blogger.com,1999:blog-451558999988150283.post-26372534450860363952010-04-18T12:03:00.001+08:002012-01-26T14:54:16.766+08:00The Book of Eli (2010)<div style="text-align: left;">
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<span style="font-family: Georgia, 'Times New Roman', serif;">Eli (Denzel Washington), an expert hand-to-hand combatant nomad, is on a quest possessing the only copy of the bible believed to be left in the world, trudging over country suffering from an apocalyptic war 30 years previous and a "flash” caused by the sun that has burned virtually all of the landscape. Things go bad for our hero when he wanders into a town run by Carnegie (Gary Oldman) – a man persistently looking for a copy of the bible in order to use its words to manufacture a new population complete with blind faith.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;"><em>The Book of Eli</em> is an obvious mixture of <em>The Road</em> and <em>The Road Warrior</em>, with a sprinkle of <em>Children of Men</em>, and while it ends up not being as impressive as any of those films, it still proves worth watching. That is, for an audience not looking to over think the feverish faith and religion storyline that drives it. Is it perfect fodder for a typical mainstream audience then? Sort of, but it mainly reaches for action fans and perhaps ones who can appreciate good art direction more than anyone else. To begin with though, the look of the film is a solid achievement. While the design of a virtual black and white ash covered post apocalyptic world is slowly becoming almost cliché in Hollywood of late, Eli still looks convincing with its barren deserts, spaghetti western-like towns and decaying bridges CGI. The Hughes brother's unique employ of the camera also helps generate an experience that at least feels fresh. Given the post-apocalypse sub-genre is well trodden ground, that's fairly applaudable, though there's no doubt the movie unfortunately suffers from style without substance too often.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">The script is good enough, with only few minor details ignored marring it from achieving a totally consistent reality (the source of water is a major plot point for example, but not so much fuel for any of the vehicles used to get around in). Plus much like <em>The Road</em>, not much time is given to the actual cause of this world either, but it stands by its conceptual rules well enough, however wafer thin. Adding to the atmosphere is a unique score which is a definite standout feature. It is thrust, almost overbearingly on our ears after the opening scene, announcing itself as almost a character in itself. A Vangelis-<em>Blade Runner </em>feel at first, it eventually moulds into its own futuristic sounding melancholy.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Despite the noteable production design, exuberant violence and soundtrack however, it is the performances that keep you involved for most of<em> Eli's</em> running time – Denzel Washington and Gary Oldman are in good form. Though the British thespian is obviously tapping into characters such as his manic Stansfield in <em>Leon</em> (his Garnegie is a virtual, yet tamer retread), when it's Oldman, it matters little even if he's merely sleepwalking on screen. He is immensely watchable as usual. Washington is all frowns and (merciless) killing for most of the film, but his charisma and humour does shine through in some moments, making him feel slightly more rounded. As Eli's eventual trawling sidekick, Mila Kunis embodies the touch cookie attitude well, but still comes off too glamorous for someone who was apparently born into her current decaying environment. There are familiar faces in support and cameos too, with Tom Waits and Malcolm McDowell making brief appearances.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">I'm sure many Christians particularly who see this film will pick up on what it's actually trying to say under the surface (while cynics will have a field day), but for the most part, <em>The Book of Eli </em>boils down to a solid blockbuster, man-against-the-world type flick, complete with machete beheadings and clichéd scenarios. Most of its silliness is forgivable however, in a film that puts in a good effort of simple entertainment value. If you spend too much time mulling over the why's and how's of the script or scorning it for its clunky homages for example, you'll miss the good it has going for it, including a slightly unbelievable, yet true to concept ending that definitely caught me by surprise. Denzel fans who make the effort to catch it on the big screen probably won't be disappointed given the actor's more recent roles, everyone else however, should maybe wait for the eventual (no doubt spectacular looking) blu-ray.</span></div>
</div>I, Captainhttp://www.blogger.com/profile/18410060970572416052noreply@blogger.com0