I went into this fairly blind. I knew it was directed by Edgar Wright, who’s style had impressed me with movies like Scott Pilgrim Vs. The World and Shaun of the Dead, and well… who doesn’t enjoy a good car chase movie?
Relative new-comer Ansel Elgort plays a young guy who works as a getaway driver for Kevin Spacey’s heist planner, and has to work with a variety of violent crims along the way. The thing is, he happens to have a bad case of tinnitus following an accident and resorts to playing his iPod to drown out the ringing (good way to make it worse, mate). This unusual spin on a tired formula has a likeable lead performance, a gentle slow burning love story involving a (very) cute waitress and several heart-in-mouth action sequences involving some damn fancy driving. So this delivers as a fast, fun and frantic ride but what does it bring to the table we haven’t seen before? The inclusion of music ranging from Motown to jazz is an interesting idea and has some of the action and gun fights even playing along to the tunes – albeit only marginally successfully. Thing is the music itself isn’t that memorable and when it really should have stood out, the other sounds, like gunfire and tires screeching, drowned out what is actually being played (including a near inaudible ‘Brighton Rock’ by Queen).
Thankfully the script is sharp and often funny, and the central love story is engaging with Ansel good as the lead (although his frequent dancing and bopping gets a little silly). Also turns from John Hamm, a scene-stealing Jamie Foxx and of course Spacey are all on-par. Oh and Edgar Wright sure can film action, with lots of clever, ultra-stylish imagery making every sequence explode. So all in all this was a fun …ride, but what originality it tries to inject ultimately left this feeling overly familiar instead. One to check out though.
The last movie, rebooting a franchise that had reached a dead-end after the lacklustre Spider-Man 3, was a decent if somewhat uninspiring outing for the web crawler, helped it has to be said by solid casting and some good action. This time around Peter Parker (Andrew Garfield) is still juggling his on/off relationship with Gwen Stacy (Emma Stone), trying to hold down a job as a photographer (er, only hinted at) and his responsibilities as a super-hero. However the mystery behind his parent’s disappearance still looms and a new enemy in the shape of an ignored, put-upon scientist (Jamie Foxx) turned electricity consumed super-villain ‘electro’ arrives on the scene.
Plenty going on in this sequel. Again Garfield is good as Parker/Spider-Man although his snively / arrogant double-act grates sometimes. Stone on the other hand is again perfect, even if she doesn’t get much more to do than threaten to run away to England. Sally Field as Aunt May seems to have stepped up her presence however in the absence of Martin Sheen’s Uncle Ben, and we also get Harry Osborne (a diverting Dane DeHaan), former best friend turned megalomaniac beneficiary of Oscorp. As always for this kind of thing the sequel seems over-complicated but makes for some great action and superb effects work (apart from some dubious swinging through New York bits that looked better in 2001). Foxx is good as Electro even if his character is quite the cliché, but overall there was a somewhat childish tone with too many moments of poking fun at our hero (the fireman’s helmet bit?).
It’s hard not to wish this had turned out differently … towards the end it really hit it’s stride, offering up some surprises as well as the (albeit predictable) character-ark of Harry Osborne. Yet this was still good entertainment, despite suffering from the usual sequel / trilogy trappings. Roll on The Amazing Spider-Man 3 then.
Approaching this you get the feeling it’s going to immediately be what the latest Die Hard movie wasn’t … as in an actual Die Hard movie. Channing Tatum goes to the White House for an interview to become a Secret Service agent, bringing his plucky daughter along because she’s up on her politics and kinda has a thing for current President Jamie Foxx. Yet whilst at the big white building, a group of terrorists attack and as you can imagine, Tatum is the only man who might be able to get the President out alive.
Not a new idea by a long shot, but given a certain panache by director Roland Emmerich (Independence Day, The Day After Tomorrow). So expect gunfights, one-liners, a smattering of humour and plenty of things that go boom. What I wasn’t expecting however was the fun partnership between Tatum and Foxx (making for one of the cooler Presidents in Hollywood history) and an overdose of rather bad CGI (the helicopters flying through the city looked awful). Emmerich is known for having no subtlety, and believability pretty much goes out of the window in the second half of the movie, not helped by an increasingly annoying Joey King playing Tatum’s daughter (was she the best we could have got for a fairly important role?) and a barrel load of cheese towards the end. Tatum looked the part (complete with white vest) but lacked a certain level of charisma I’d say. James Woods also pops up and is very good, as is Maggie Gyllenhaal even if she gets very little to do. Oh and every twist is so blatantly sign posted, I gave up expecting surprises and just enjoyed the ride.
This was a lot of fun, but could have been a classic if Emmerich had just applied the breaks (and his brain) for once.
When Quentin Tarantino makes a movie, it’s an event. Fact. Few director’s have the kind of celebrity status he enjoys, and thankfully more often than not, he can deliver. Over the years I would say he has evolved, from merely the movie geek wonder kid with a series of snappy scripts and a growing cult fan base, into a film-maker of true credibility. 2009’s Inglorious Basterds proved that, and now with this highly anticipated latest effort, he’s painting the classic spaghetti western in his trademark sharp-as-a-knife dialogue, clever-ass narrative and obscure soundtrack.
Jamie Foxx (Ray, Colateral) plays Django, a slave who teams up with savvy bounty hunter King Shultz (Inglorious Basterdz’ Christoph Waltz) who promises to help him track down and free his wife, who has been sold off to a local tycoon, Calvin Candie (Leonardo DiCaprio). Now as should be expected, this isn’t like every other western you might have seen (technically it’s a southern, according to Quentin) with Tarantino’s usual mix of sporadic violence, smattering of carefully implemented comedy and lengthy scenes of tense dialogue all aided by a soundtrack so bizarre and obscure, that the whole thing threatens to turn into farce. Yet Tarantino is better than that and somehow makes it all work, especially once you get into the groove. Waltz, as in Basterdz steals the show with a brilliantly charming but no less deadly performance, aided by a perfect Foxx, who owns the title role. Of course it should go without saying that DiCaprio is also excellent in possibly his first villainous turn (proving very psychotic), and a special mention should go to Samuel L. Jackson who as always lights up the screen every time he appears.
Naturally though this is QT’s gig, working from his own brilliantly entertaining and often shocking script (his take on the slave trade utterly humbled this viewer) … and although stylised and at times comic-book-like (the bloody violence clearly exaggerated) still nails one of the darker times in American history.
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