I wasn’t at first that fussed about this adaptation of the best selling novel, as I’m not the biggest Ben Affleck fan and usually any surrounding hype means I’ll generally not rush out to see. Then I read a review and discovered one of my favourite directors was at the helm.namely David Fincher. Forgiving his somewhat disappointing effort with The Girl With The Dragon Tattoo, generally Mr Fincher not put a foot wrong, with Fight Club and Seven being firm favourites.
Ben plays a regular blue-collar guy who one morning arrives home to discover his beautiful wife (Rosamund Pike) has vanished, leaving in her wake evidence of a struggle. Before long a media-circus surrounds her disappearance and Ben has to go on TV to seek out help in finding her, whilst all the time the public and the news scrutinize his every move. Fincher’s expertise with a complex and investigation-heavy narrative makes this instantly absorbing and I was really pulled into the plight of Ben, his sister and the media attention. Questions are raised and clues are discovered and like me you’ll have your own theories as the story progresses – but with the weight of the novel behind it, there’s more to this baby than meets the eye. Affleck is very good in one of his more multi-layered roles and proved a lot more convincing than I’ve seen from him for a while. Rosamund Pike is also first rate, even in flash back; beautiful, sexy and suitably vulnerable.
Towards the end some revelations seemed a tad rushed and there was a weird vibe to the final act that felt hard to roll with – was I meant to be amused or disturbed? Also that ending left me with more questions than answers … probably not helped by some of the book’s event’s being glossed over (the stalker, the parents…). However this remains a brilliantly acted and at times very powerful thriller with Fincher (helped immeasurably by Trent Reznor’s creepy score) very much back on form.
I thought the last Captain America movie was the better of the several origin tales leading up to Marvel Avengers Assemble. The World War II setting, the fact Steve Rogers goes from a wimpy rookie to a super soldier (and the special effect used to fool us…) as well as a great turn from Hugo Weaving as Red Skull all made for a top class piece of entertainment. So you ask, where to go now ol’ cap is in the modern world? Well how about an attack on s.h.i.e.l.d and a conspiracy where the agency he trusted suddenly turns on him?
Scarlett Johansson is here as the sultry, bad-ass Black Widow and well, kicks all sorts of ass, despite a dodgy fake tan. Oh and this time we get a lot more screen time with Samuel L. Jackson’s cool-as-ice Nick Fury, who gets his own actions scenes for a change. Villainy is in the form of The Winter Soldier, a tough as nails enemy with a metal arm (!) who is every bit the match for Chris Evans’ increasingly llikeable Captain. What follows are a series of bombastic encounters, a stand-out showdown on a freeway, very impressive effects, surprisingly vicious hand-to-hand combat (with some martial arts thrown in), and a keep you guessing plot. Robert Redford plays one of the senior guys of s.h.i.e.l.d. but is looking his age, and Anthony Mackie is pretty cool as Falcon, even if he seems to come out of nowhere.
As a follow-up this packed quite punch in the action stakes and gave us some good character development with Captain America facing his past, and Nick Fury questioning his allegiance. Chris Evans is still perfect and handles the action well, as does Johansson (prrr…). A quality sequel, and made me thirsty for the next Avengers – surprising considering all this comic book stuff was starting to get a bit tired.
The first Raid movie was an eye-opener of an action-flick. A raw, uncompromising and unflinching martial arts explosion in a very claustrophobic setting. Impeccably choreographed and made a name for it’s star Iko Uwais, as well as director Gareth Evans – a Welshman, believe it or not. This follow-up has rookie cop Rama being persuaded to go undercover against the mob organisation he roughed up (to put it mildly) in the first movie. Soon he’s befriending the son of a local kingpin, whilst everyone begins to double cross one another, with Rama struggling to stay alive and not get his cover blown.
The story is over-complicated and takes a bit of time to get going, but is filled with some interesting characters, especially the conflicted, power-hungry Uco (Arifin Putra). But we’re not here for deep and meaningful characterisation, despite the scripts best efforts – we’re here for the action … and what can I say? This is filled with some of the most violent and bone-crunching fights I have ever seen … big brawls featuring hammers to the jugular, baseball bats embedded in faces and goons being thrown, having their legs snapped and faces smashed left right and centre. It’s very fast, and superbly filmed, edited and choreographed. Gareth Evans certainly knows how to bleed every ounce of intensity and impact from every punch, kick and stabbing – and it’s pretty incredible. Add to this stand-out sequences involving a duel hammer wielding girl on a subway train, and a brilliantly fast and brutal car chase – and this almost had it all.
The reliance on a twisting plot takes some of the energy away that the first movie had in spades, and every time it stopped to explain something or for more developments, I was just itching for the next confrontation. Perhaps in it’s native language and with a lot of subtitles, I missed some of the finer details, which can happen … so I’ll let it off for the most part. However as a full-on example of martial arts and well, action cinema without any boundaries (or subtlety) this once again nails it. A great sequel.
In the nineties, I remember this being one of my favourite thrillers. A gangster’s mol plots to steal $2 million from her mobster boyfriend after hooking up with the alluring ex-con in the apartment next door, who just so happens to be a lesbian. This atmosphere-heavy and stylish movie was heralded at it’s time for it’s arty approach to a lesbian storyline and it’s cool twisty-turny narrative, helped immeasurably by great turns from it’s three main stars; Jennifer Tilly, Gina Gershon and Joe Pantoliano.
The 1996 debut movie from The Wackowskis, who went on to craft The Matrix movies amongst others, their obvious skill is aided by superb work from cinematographer Bill Pope who makes the camera as much of a character as the people in the story. At it’s heart this is simply a sexy thriller (with a killer lesbian sex scene), two attractive, albeit stereotyped females (could Gershon’s character be any more clichéd?) and an unhinged mobster straight out of the mobster handbook. That being said the script is full of clever structuring and interesting developments (the plotting of the stealing of the money is shown at the same time as it’s being executed). Although dialogue that perhaps initially sounded cool, now years later comes off rather corny (“I have this image of you – inside of me – like a part of me” – groan). Also Tilly’s Betty Boop voice grates quickly. Thankfully then this is so rich in style and tension, much of that doesn’t matter as I enjoyed watching these girls get one over on the mob. Towards the end, I’d have liked a final twist, as it seemed to conclude too ‘safely’ given the knowing awareness of the rest of the movie. It’s been compared to the more serious works of The Coen Brothers such as Blood Simple, although I’d call it closer to the noir thrillers of John Dahl, as in The Last Seduction. Still one of the cooler movies of the nineties.
The recently released Blu-ray from Arrow video is above average. The movie itself is in good shape. It’s subdued look, mostly consisting of greys and whites doesn’t dazzle in high def but there’s decent clarity during dark scenes and acceptable close up detail. The music and dialogue on the other hand are both delivered affectively in a choice of DTS 5.1 or Dolby 2.0. Extras-wise this is quite impressive, with several featurettes covering interviews with the cast as well as the crew. Most valuable is an audio commentary, again from cast & crew, shedding plenty of light on the production. Concluding this package is reversible sleeve artwork as well as a booklet and the movie on DVD as well. Not too shabby!
I’m a little concerned. Robert Rodriguez, that indie wonder kid, best buds with Quentin Tarantino and director of such classics as Desperado, From Dusk Till Dawn and Sin City, has been making more of a name for himself lately as the poster boy for the grindhouse genre. Tarantino was wise to just dip his toe in it before delivering the double whammy of Inglorious Basterds and Django Unchained. Yet the imminent arrival of the hotly anticipated Sin City: A Dame To Kill For has been slightly wilted by Rodriguez’s z-grade obsession … which going by the reviews, got old very quickly.
This follow-up to the movie inspired by a trailer in the middle of that Grindhouse double feature calamity, finds hulking Mexican for hire Danny Trejo as bounty hunter and former marshal ‘Machete’ who gets hired by the President of the United States (Charlie Sheen … er, yes) to bring down a crime lord who is threatening to send a missile to nuke Washington. Yeah it’s stupid and it’s the sort of plot you’d find in an 80’s TV show or some movie in a flea pit of a cinema that had run out of porn … but it’s a concept, played fully tongue-in-cheek that makes for highly entertaining tosh.
Rodriguez clearly loves the material and although it lacks some of the sucker-punch moments of the previous one it still had enough comical ideas (the speeder from Star Wars, ‘Machete don’t tweet’…) that bored is not something I could be. Co-starring a cast you almost have to read twice to believe, yes Sheen as well as Cuba Gooding Jnr, Michelle Rodriguez, Lady GaGa (!) and even Mel Gibson – this could have been a riot. Yet due to that intentional grindhouse style, its all done badly; the acting is only passable (although Gibson is great) and the effects, stunts and even the gore are amateurish (with a surprising lack of nudity). Yeah I get it, it’s all part of the joke … but does detract from some of the movie’s bigger moments.
One to watch with beer, friends and your brain on auto-pilot. Is it wrong I actually want to see ‘Machete Kills again – in space’ ??