Film Review: Red 2 – Electric Boogaloo

This column was originally published in the Central Western Daily on Tuesday 10th September 2013.

Remember that movie from 2010 which featured Dame Helen Mirren at the helm of a .50 calibre machine gun? Red, which is an acronym for Retired, Extremely Dangerous, also starred “mature” actors Morgan Freeman and John Malkovich playing against type as former black-ops agents called back into action when their lives are threatened by assassins. Oh, and the film was headlined by Bruce Willis playing, um, Bruce Willis. A modest hit at the box office, Red was buoyed by the novelty of seeing highly regarded dramatic actors blowing stuff up.

In yet another example of an unwanted sequel (Kick-Ass 2, The Smurfs 2 or Grown Ups 2 anyone?), Willis, Mirren and Malkovich are joined by Catherine Zeta-Jones and SIR ANTHONY HOPKINS* for even more geriatric hijinks, except that this time there is absolutely no novelty value. Just more of the same…

Frank Moses (Willis) is making an earnest effort to enjoy his retirement with girlfriend Sarah Ross (Mary-Louise Parker) when a failed mission from his past returns to haunt him. Reuniting with former colleagues Marvin Boggs (Malkovich, Malkovich, Malkovich) and Victoria (Mirren), Moses attempts to track down a nuclear weapon hidden beneath the Kremlin by brilliant yet crazy physicist Dr Edward Bailey (SIR ANTHONY HOPKINS). With Russian secret agent, and Moses’ former flame, Katya (Zeta-Jones) plus the world’s best assassin Han Jo-bae (Lee Byung-hun) on their trail, the team blast their way through Paris, London and Moscow.

Red 2 marks three sequels in a row for Bruce Willis who nowadays seems to be acting on autopilot with the engine on smug. I’m pretty certain that you could take scenes from A Good Day to Die Hard, G.I. Joe: Retaliation and Red 2, cut them together and you would never know they are from different films. I’m not entirely sure that Lee Byung-hun, who has now co-starred with Willis on two consecutive films, was even aware that he had moved on to a new production. Explosions… Guns… Bruce Willis… Which film is this anyway?

There is also some very obvious product placement which sees entire scenes take place inside a Costco store and a Papa John’s Pizza outlet. Surely in a movie based on a comic book (there are even animated transitions between scenes to remind you), some fictional stores would suffice? I suppose we all need to eat. And when I eat I like to shop at Costco and enjoy a piping hot pie from Papa John’s Pizza! Cheques can be forwarded to me via the CWD.

Red 2 is not without its charms. There is great chemistry between the leads which generates plenty of funny quips and put-downs. Malkovich steals the show with his mentally unstable Marvin Boggs, a victim of decades of daily LSD doses as an experiment by the CIA. And Mary Louise-Parker is clearly having a great time as Moses’ girlfriend who longs for the exciting life of a secret agent.

Director Dean Parisot (Galaxy Quest) has managed to put together an unremarkable but largely enjoyable sequel that does very little to advance the franchise. For my money, watch the original again instead.

*An actor of such magnitude as SIR ANTHONY HOPKINS requires that you say his name aloud whenever reading this review, no matter where you are enjoying this column. Thank you for your cooperation.

Published in: on September 10, 2013 at 23:52  Leave a Comment  
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Sharknado Sucks: a review

This column was originally published in the Central Western Daily on Tuesday 16th July 2013.

Last week, the latest internet sensation set the social media world abuzz. And hopefully, just like planking and South Korean one hit wonders, Sharknado will be long forgotten in a couple of days. However, in the interest of your sanity, I have bravely watched the horrible pile of cinematic poop that is Sharknado so that you don’t have to. No thank you cards or flowers are necessary. It’s my job.

Sharknado comes to us thanks to production house, The Asylum, and US cable channel SyFy.  The Asylum is responsible for the vast array of mockbusters, cheap knockoffs of major film releases, which litter video store shelves everywhere. Transmorphers, Paranormal Entity or Abraham Lincoln vs. Zombies anyone? SyFy is renowned for its low budget Saturday night creature features. Put these two cinematic behemoths together and what do you get? The answer is Tara Reid being attacked by flying sharks.

Our hero is Finlay “The Fin” Shepherd, played by Ian Ziering, of original 90210 fame. He’s a former surfing champion who now owns a bar on the Californian shoreline. The movie opens with him catching a wave, accompanied by his best friend, Baz, portrayed by Australian “actor” and ex-Baywatch star Jaason Simmons. For some reason known only to the screenwriters, a freak hurricane strikes Los Angeles, resulting in tornados infested with airborne sharks. Why are sharks only affected by this phenomenon? I guess flying killer whitebait is not very interesting.

Within minutes, a sharknado strikes, innocent limbs are ripped off and Baz is viciously bitten by a shark. After being rescued by Shepherd, Baz is soon back at the bar showing no signs of injury except a small dressing on his leg. Despite the chaos and death around them, the patrons of this seaside establishment happily continue drinking and playing pool until sharks start throwing themselves through the windows, literally.

With further sharknados approaching, Shepherd must save his estranged wife, played by a disappointingly non-nubile Tara Reid, and daughter, who live 6 miles inland. Yep, inland. The guy in the bar literally on the water’s edge during a hurricane must rescue the people 6 miles inland.

Strangely, there is no official government or military response to this bizarre catastrophe and only Shepherd and his company of idiots can save Los Angeles, by dropping bombs via helicopter into the sharknados. How can a bomb stop a tornado? Why are there more sharks in the tornados the further they move inland? How does a shark biting into the roof of a SUV cause it to explode? How can a shark climb a rope? Why do the sharks drop out of the sky when they are shot? Are they actually magic flying sharks? Why am I watching this garbage?

I don’t know which is worst: the incredibly low budget production of this film or the logic of the premise.

Scenes have been edited together with no regard to continuity. A close up of an actor sitting on a surfboard on flat ocean is followed by a wide shot of the same character with huge waves around them. In the middle of a hurricane, we cut to an actor backed by blue sky. Sharks are swimming through muddy floodwaters, but then the stock footage close up shows a creature swimming in crystal clear water. To save money, there are plenty of close ups featuring actors reacting to stuff, and there are CGI wide shots showing tornados and sharks, but no footage with both in the same frame.

Imagine being sucked deep into the sea and despite not being able to breathe, the the first thing you think about is lunch. That’s the equivalent to the weird premise of Sharknado. Wherever there is water, sharks can somehow attack: drainpipes, manholes, toilets, bubblers…nowhere is safe.

It’s not all bad. No wait, it is all bad, but the bit I hated the least was a laughable tribute to Quint’s famous Indianapolis shark attack speech from Jaws, delivered by an actor who has no right to call herself that.

The film’s climax features Ian Ziering leaping into a flying shark’s mouth, chainsaw first, only to cut himself out, dragging his son’s presumed dead girlfriend with him. How did she get there? Wasn’t she gobbled by a shark earlier in the movie? You know, of all the sharks, in all of the sharknados, in all the world, she’s eaten by mine. Not breathing, she requires CPR and then does the movie coughing up water revival schtick. Why was she drowning inside a flying shark?

Sharknado is not the worst film I have ever seen, but it is the worst “bad” film I’ve seen. I don’t mind a “so bad, it’s good” movie, but this is just bad. I sure hope the actors had fun making it, because I certainly wasn’t having any.

The film’s only chance of salvation comes from the metaphysical. The slim budget meant that the only people seemingly affected by the shark attacks are our lead characters. What if the sharknado is only happening in their minds?

Published in: on July 23, 2013 at 17:53  Leave a Comment  
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Box Office Bomb Autopsy: The Lone Ranger

This column was originally published in the Central Western Daily on Tuesday 23rd July 2013.

Hollywood is reeling after a string of blockbusters failed to perform at the box office. White House Down (starring Channing Tatum and Jamie Foxx, due in Australia on September 5), Pacific Rim and The Lone Ranger (both now showing) have all tanked, with the latter projected to cost Disney over $100 million in losses. That’s a lot of Disney Dollars for the House of Mouse.

Hi-ho Silver, let’s perform an autopsy on The Lone Ranger before the body gets cold, although one could argue that it was already dead on arrival.

I booked ahead for a screening of The Lone Ranger on its first weekend of release, anticipating a full house. To my surprise, there were only a handful of people in the cinema. That’s a pretty clear indication of the lack of interest in the franchise. How many people worldwide have been waiting for a Lone Ranger movie? Well, I only know of one, my dad. He absolutely loved the film. As for me, I can’t remember ever seeing a Lone Ranger TV show. I know the catchphrases and the William Tell overture but that’s it. How did Disney expect to market this film to children?

Previously, Disney relegated its more adult orientated output for Disney-owned imprints such as Hollywood Pictures, Miramax Films or Touchstone Pictures. Not so anymore. The Lone Ranger begins with the standard Disney opening sequence and soon follows it with the villain, Butch Cavendish, played by William Fichtner, eating an adversary’s heart. Despite the Lego playsets and merchandise, this violent film is not for kids.

Director Gore Verbinski and star Johnny Depp have previously struck box office gold with the Pirates of the Caribbean franchise. The same formula is employed here: a complex story with supernatural overtones, Depp completely engrossed in a goofy character, big budget action sequences, a Hans Zimmer score and an overlong running time. Unfortunately, audiences were already starting to lose interest in Jack Sparrow and company by the third sequel (with a fifth entry on its way) and Verbinski and Depp may have gone to the proverbial well once too many. And why call it The Lone Ranger when it’s clearly Depp’s film as “sidekick” Tonto?

There are some major problems with the tone of this movie which is also confusing audiences and critics, much of it surrounding Depp’s portrayal of Tonto. There’s no doubt that Tonto is a racist stereotype. Whether you are comfortable with this largely depends on whether you believe that Depp has Native American ancestry. In May 2012, Depp was adopted as an honorary son of the Comanche Nation but has no confirmed Native American bloodlines.

The Lone Ranger features some violent sequences of Comanche warriors getting mown down en masse by machine guns. Clearly it is trying to acknowledge historical atrocities, but almost immediately we return to Depp playing the fool as Tonto. The film is trying to say something. I’m just not sure what. And neither do the filmmakers.

Despite its problems, I still had fun with The Lone Ranger. Armie Hammer has a great name and shows solid comic timing as the real sidekick of the film, the titular character also known as John Reid. The cinematography, especially in Monument Valley, Arizona, is handsome and the action sequences are skilfully handled. You can see every one of the $250 million dollars spent on the film. The baddies, played by Fichtner and Tom Wilkinson, are appropriately nasty (for a non-family film). Besides my complaints above, my only other gripes are some pretty poor prosthetic work on Depp’s old Tonto (although not J. Edgar terrible) and Helen Bonham Carter playing her standard quirky character.

The Lone Ranger may have failed to fill Disney’s coffers but don’t feel bad for the House of Mouse. Last year they reaped in $1.5 billion on The Avengers and will soon be launching some new entries in a little known film franchise called Star Wars.

Published in: on July 23, 2013 at 17:50  Leave a Comment  
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Film Review: Man of Steel

This review was originally published on The Orange Post on Wednesday 3rd July 2013.

Zack Snyder’s Man of Steel is a mixed blessing. At times it soars, just like the breathtaking depiction of Superman’s first flight. However, at times, and particularly in the final hour, it drags and is reminiscent of the director’s poorly received Sucker Punch.

Snyder retells Kal-El’s origin story, giving Krypton a much grittier and organic feel when compared to Richard Donner’s glowing crystalline depiction in Superman The Movie from 1978. Through a series of flashbacks, he recalls important moments in Clark’s early years on Earth and then thrusts us into what is essentially an alien invasion, as Kryptonian criminals General Zod and company arrive in search of Kal-El and some alien maguffin thingy.

The problem with man of Steel is that it takes Superman’s perspective rather than ours. It’s very easy to imagine that Clark / Kal-El is apprehensive about revealing himself to the world. Unfortunately, he waits until Zod demands that he be turned over to don his tights and cape. Snyder never shows us how the non-US military world reacts to his existence. Instead, we cut straight to brain numbing Transformers-lite fighting. You and I dealing with a superman amongst us is far more interesting than an alien’s angst about dealing with us mortals.

And that brings us to stakes. In Man of Steel, there are none. From the outset, it is established that Superman and General Zod are practically invincible on our planet, so when the film heads down the slippery slope that is two guys fighting in the air and crashing through buildings ad nauseum, it is pretty hard to care. We’ve already seen the battle sequences in Man of Steel before, in the Transformers franchise and again last year in The Avengers.

It’s not all bad though. The actor most maligned on the internet for his casting, Kevin Costner, is really solid and brings a gravitas to Jonathan Kent, Kal-El’s human father figure. Also charismatic is Russell Crowe who has clearly stayed off the pies to fit into his Kryptonian super suit as Jor-El, Superman’s real father. The talented Amy Adams is a determined and ambitious Lois Lane who has great chemistry with her boss at the Daily Planet, Perry White, played by Laurence Fishburne. It’s a bit of a shame that this chemistry is not present with the guy in the tights.

Henry Cavill certainly looks right for the part of Superman, but as the storyline takes place before he dons his glasses and becomes a mild mannered reporter, there is not really any duality. Without the Clark Kent persona, Cavill has little to do but look concerned. He might be the perfect Superman, but I think that may well be a matter for any subsequent instalments.

I was most looking forward to seeing how Michael Shannon, one of my favourite actors, would fare in his first major blockbuster role as General Zod. For his first couple of scenes, I had a great time with Shannon’s intense, bug eyed performance, however, it soon became clear that this was a one note performance and I grew tired of it. I hope that this isn’t his only foray into mainstream film.

The final act of the film consists of two very long and tiresome CGI laden fights that will leave you walking out of the cinema exhausted. Only when the dust had settled and we got just a few moments of Clark joining Lois on the staff of the Daily Planet before the end credits rolled did I catch a glimpse of the Superman movie I really wanted to see.

Published in: on July 4, 2013 at 00:05  Leave a Comment  
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Film Review: World War Z

This review was originally published on The Orange Post on 23rd June 2013.

Marc Forster’s World War Z (pronounced zee not zed) has more in common with 28 Days Later and its sequel 28 Weeks Later than the George A. Romero series of zombie flicks. These Z zombies can run, fast. They also leap and stack on top of themselves en masse to climb walls, like a heaving ant nest or a jenga tower. I’m not sure why becoming one of the undead transforms you into a super athlete. All I know is that with my lack of sporting prowess, I’d be a very hungry zombie.

Brad Pitt, complete with foppish nineties hairdo, is a retired UN investigator. When a mystery contagion outbreak occurs, turning millions worldwide into zombies, Pitt’s Gerry Lane must get his family to safety before traversing the planet (well, Korea, Israel and Wales) in search of the origin of the epidemic.

World War Z’s source material is the title of the novel by Max Brooks (son of Mel). Practically nothing of the book, which is written in an oral history style as told by multiple survivors, has made it into the screenplay of this troubled production. I’m not precious about these things. Look forward to a compendium of my movie reviews to be published under the title Dead Serious: Attack of the Zombies. Hey Hollywood! Buy the rights, use the title only, do what you like.

World War Z had a difficult gestation.  The original release date was pushed back to allow a seven week reshoot of the rewritten final third of the film in Budapest. Star Pitt also reportedly clashed with director Forster (Monster’s Ball, Quantum of Solace).

The good news is that the final product hangs together nicely. The thrill ride starts from the first moments of the film and doesn’t let off until the end credits roll. The action is unrelenting and doesn’t stop for anything, including character development. This is Pitt’s film. Supporting characters, such as James Badge Dale’s Captain Speke, appear briefly and are then quickly dispatched. At best, Pitt’s character can be described as an inquisitive investigator who does some investigating.

The zombies in World War Z are mostly of the CGI variety with little attention given to them as individuals. I would have liked just a little subplot involving the ramifications to those left behind when a loved one is turned. In this film, it is literally one bite, some convulsions and twelve seconds later you are one of the running dead, and on with the show.

Strangely, these zombies only seem interested in biting the living, not eating them. The final set piece of the film, set in a laboratory in Wales, takes a tonal shift from the earlier spectacles in the US and Israel. An effective cat and mouse style set piece (that would be one mouse and tens of zombified cats) with locked doors, long corridors and glass cubicles, it is only after the film ends that you realise that it makes little sense. Why are the zombies so intent on chasing the living down, if only to bite them?

On further thought, this would be pretty much the same film if you replaced the zombies with rabid bats, sparkly vampires, teen werewolves or killer tomatoes. The film isn’t so much about the undead, but rather how Brad Pitt saves the world from catastrophe.

Leave your brains at the door (the zombies aren’t interested in them anyway) and enjoy this action packed, not very scary action thriller. I would recommend experiencing World War Z in 2D. I cannot recall a single moment which would have been improved by the extra dimension, or annoying glasses.

Published in: on June 30, 2013 at 16:15  Leave a Comment  
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Film Reviews: Sydney Film Festival 2013 Day 2

This column was originally published in the Central Western Daily on Tuesday 18th June 2013.

It is day 2 at the Sydney Film Festival and things are starting early for me with a 10am screening at the State Theatre. I really love seeing films here. The sound may not be fantastic and the screen is a little small compared to the megaplex stadium style of cinema to which we are now accustomed, but there is something old school and charming about enjoying a movie in a grand theatre, complete with sculptures and chandeliers.

I have fond memories of coming to the State Theatre with my late grandmother to see several Alby Mangels’ World Safari films. This series of movies featured the rugged explorer sailing the world, accompanied by a nubile girlfriend and a dog. Inevitably, some unfortunate accident would ensure that neither the girlfriend or dog made it to the end of the film, but sure enough, Alby would find a new set of companions for the next instalment.

Rule #37: Just like getting out of town when Jessica Fletcher arrives for a visit (someone is getting murdered), you should never accept an invitation to be Alby Mangels’ onscreen girlfriend, or dog.

Ginger and Rosa is the latest film from English director Sally Potter (Orlando, The Boy Who Cried). Set in the 60’s, the titular teenage characters have been friends since birth but are now starting to grow apart. Ginger is concerned about the threat of nuclear destruction and Rosa is more interested in boys and smoking. When Rosa takes up with Ginger’s estranged pacifist father, their lives are shattered.

This is Elle Fanning’s film. Following on from her radiant performance in Super 8, she is the best young actress working today. Alice Englert (Beautiful Creatures), daughter of Aussie director Jane Campion, is also impressive as Rosa. Annette Bening, Oliver Platt and Timothy Spall make the most of their supporting characters. Ginger and Rosa is sure to be a hit in the arthouse scene.

Documentary The Moo Man follows dairy farmer Steve Hook. He owns a small herd of cows near Hailsham in Sussex and sells raw, organic milk via his home delivery service and at local markets. At risk of being crushed by the major supermarket chains, Steve has a close relationship with his cows and runs his family farm in a traditional way.

The first 60 minutes of the film are a joy. We follow Steve talking to his cows, milking them, talking to them, helping them give birth, talking to them and bottling the milk by hand. Nothing much happens, but that’s the charm of the piece. Unfortunately, the film is about 30 minutes too long and I found myself squirming when several opportunities to conclude the film were missed.

I closed my Sydney Film Festival 2013 movie marathon with Grigris, a French-Chadian film. Grigris has a gammy leg and makes a living working for his uncle and picking up some extra cash dancing in nightclubs. When his uncle falls ill, Grigris turns to illegal petrol smuggling. Unfortunately, he’s not a very good trafficker and soon plots to steal a delivery, with potentially disastrous consequences for himself and his new girlfriend, the local prostitute with a heart of gold.

I found the plotline to be a little dreary and the stuff of standard late night movie fodder on SBS. Whilst the depiction of life in Chad was interesting, stupid people making stupid decisions is yawn inducing worldwide.

Sydney Film Festival closed on Sunday and will be back, bigger and better, in 2014.

Published in: on June 30, 2013 at 16:12  Leave a Comment  
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Film Reviews: Sydney Film Festival 2013 Day 1

This column was originally published in the Central Western Daily on Tuesday 11th June 2013.

Every June, cinephiles from all over Australia make their annual pilgrimage to Sydney in order to drink coffee, stand in queues, eat sandwiches and watch as many films as humanly possible. It’s time for the Sydney Film Festival. This year, due to time constraints, my scheduled involved seven films in two days, so find a seat in the general admission area, pop a No-Doz and enjoy these rapid fire reviews of my first day at SFF.

William and the Windmill is a doco about William Kamkwamba, a young man from Malawi, who built a windmill from junk to generate electricity for his family’s home. Championed by bloggers worldwide, Kamkwamba is thrust into the spotlight and soon becomes a celebrity and bestselling author. Now a student at the prestigious Dartmouth College, the film is a fascinating portrait of a man bridging two worlds, and whose native language does not have a word for stress.

Investigative journalist Jeremy Scahill uncovers the disturbing truth behind the US Government’s covert operations in Dirty Wars. This documentary is slickly edited to resemble a blockbuster thriller and shows that nothing is sacred in the “war on terror”, not even innocent civilian lives, international borders or the assassination of US citizens. I left the screening feeling unsettled, which I am sure was the desired effect.

I really did not enjoy F@ck for Forest, a doco which follows a band of misguided free spirits in Berlin who produce and sell homemade porn to raise funds to save the rainforests. I must admit to having just a little chortle when the hippies arrive in the South American rainforests to find that the locals do not understand free love and have no interest in their money. Not for the faint hearted, this challenging piece made me realise that sometimes a cake stall isn’t enough.

A Hijacking is a taut Danish thriller about the ramifications at home and onboard when a cargo ship is taken for ransom by Somali pirates. Shot in a semi-documentary style on a ship that had actually been hijacked, it is hard not to empathise with both the crew and the company bosses as negotiations move painfully slowly and the days turn to weeks and then months. I’m sure an English language remake is just around the corner.

Legendary Australian photographer William Yang has been showing his work in a live theatre slideshow format since the eighties. I attended the world premiere of William Yang: My Generation, his tenth live show reimagined as a film. Yang lovingly relives his experiences as a social scene photographer amongst Sydney’s artistic elite. This film will screen on Sunday Arts Up Late on ABC1, Sunday June 16 at 10:25pm and comes highly recommended.

Published in: on June 30, 2013 at 16:07  Leave a Comment  
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TV Review: Masterchef 2013 – Boys vs Girls

This column was originally published in the Central Western Daily on Tuesday 4th June 2013.

Call me old fashioned, but when it comes to reality TV cooking competitions, I prefer Masterchef. Sure, there are other (and higher rating) options available but I like my cooking competitions to be more about the food and less about human melodrama, double crosses and stereotypes.

So it was with a heavy heart that I witnessed the debut episode of the new season of Masterchef on Sunday night. Expecting the same old, comfortable format of previous years, I was horrified when judges George, Gary and cravat guy announced that the theme was boys versus girls.

Battle of the sexes? Really? Really? In a competition based on individual achievement, what relevance does the number of Y chromosomes have on one’s ability to prepare food for human consumption? What’s next? Battle of the blood types? Battle of the races? Plants versus zombies?

The episode began with the new array of kitchen cannon fodder arriving at the MCG for a showdown worthy of a place amongst the greatest competitions ever played on the hallowed turf: separating egg whites. Insert record scratch here. For the record, self-confessed cooking nerd Rishi bested opera singer Clarissa to separate 1kg of whites. Woohoo, boys rule!

The teams then rushed down, down (prices are down) to the nearest non-specific supermarket with only $204, representing the average family spend on groceries per week, to buy ingredients for a 3 course meal for fourteen. The boys had a few bucks more for winning the Great MCG Egg White Challenge™. I’m still not entirely sure about the link between the weekly expenditure statistic and the spending limit for a single meal, but who cares? It’s boys versus girls!

Desperation (for ratings) was the main scent emanating from the Masterchef kitchen as the producers immediately established the heroes and villains for the new season. Michael is the misogynist. Noelene is the eye rolling sarcastic divorcee. Jules likes to sledge the boys and call it like it is. A dispute at the supermarket over which ingredients to lose when the girls overspent led to the social worker labelling her teammates as “moles.” Wow, infighting already. It’s so My Kitchen Rules.

Clarissa is the annoying bossy one. As she dumped ingredients off the conveyor belt at the checkout, ethnic housewife with a heart of gold Samira was heard to utter, “Don’t let Clarissa touch my nuts”, without a hint of irony or innuendo. Unfortunately, this was the high point of the show.

To squeeze in yet another reference to the nameless supermarket chain sponsoring the program, the producers have also included an employee in the competition. Faiza, a veteran checkout chick with 8 years experience, saved the day for the female team by proposing that they half a clove of garlic to save 40c. Her employee discount card may have been more useful.

The fact that I am writing about the contestants and not the food isn’t a good sign for Masterchef Season 5. Falling ratings have prompted changes to the original format which replicate characteristics of its competitors. I’m predicting that Masterchef becoming more like the others will make it harder for viewers to distinguish it in a crowded reality TV marketplace. It’s been fun but I’m voting myself out of the Masterchef kitchen this year.

Published in: on June 30, 2013 at 16:01  Leave a Comment  
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Film Review: The Great Gatsby (old sport)

This column was originally published in the Central Western Daily on Tuesday 29th May 2013.

I must profess to not having read F. Scott Fitzgerald’s 1925 novel, The Great Gatsby recently, but I’m pretty sure that I have just seen the pop up book. Just like Leonardo DiCaprio’s mysterious Jay Gatsby knows how to throw a wild party, Baz Luhrmann certainly knows how to film one. Within minutes of the opening credits, we’re back to the hyper reality already established in Luhrmann’s Moulin Rouge:  beautiful people, rapid edits, loud out-of-era music, rapid edits, champagne and partygoers jumping into swimming pools. Did I mention the rapid edits? Granted, they aren’t as headache inducing as in Moulin Rouge but there were moments where all I wanted was to take in this visual feast. Luhrmann clearly has an eye for beauty and detail, so why does he insist on ensuring that the lens doesn’t stay on anything long enough to enjoy it?

Tobey Maguire’s Nick Carraway arrives in New York City following his service in World War I and rents a house in West Egg, Long Island, right next to the Gatsby Mansion. Gatsby? Who Gatsby? What Gatsby? Throughout the first third of the film, DiCaprio’s enigmatic millionaire is consistently referred to as a mystery man. Although the host of elaborate parties, no-one knows what Gatsby looks like. Once Nick is invited to a party and becomes Gatsby’s “old sport”, this subplot is thrown out with several visual references to framed pictures of the “great” one adorning his mansion walls. The climax of the film also relies on a positive identification that shouldn’t have been possible.

Gatsby had a relationship with Carraway’s cousin Daisy (Carey Mulligan) before he was sent to war. Unfortunately Daisy is now unhappily married to the womanising Tom Buchanan (Joel Edgerton). To win back his old flame, Gatsby has purchased the mansion across the bay from the Buchanan’s residence in East Egg, as you do. Luhrmann gleefully utilises CGI sweeping shots over the water to remind us of the futility of their love. Either that, or Baz wants to subtly hammer home the fact that The Great Gatsby is shot in 3D. To reunite with his former love, Gatsby throws lavish parties in the hope that she will somehow attend. He also uses Carroway’s familial connections to arrange a reunion. I’m not entirely sure how Gatsby knew that Nick was related to Daisy, but who cares, THE GREAT GATSBY IS SHOT IN 3D.

All of the lead performances are solid. DiCaprio has the charisma to overcome a script that has him say “old sport” too many times. Maguire is appealing despite a weak bookend subplot which undermines his character and does nothing to drive the plot forwards. Mulligan is radiant as Daisy, and Edgerton is appropriately nasty as the moustache twirling villain. Poor Isla Fisher and the talented Jason Clarke are sidelined in small supporting roles. Keep an eye out also for some of our most highly regarded actors in thankless tiny character parts. You can play the “Where’s Wally? The Great Gatsby edition” by looking out for Vince Colosimo, Steve Bisley, Max Cullen and Jack Thompson.

The Great Gatsby is a case of style over substance. Luhrmann’s Gatsby hyper world is certainly an exciting place to visit but he has failed to capture F. Scott Fitzgerald’s literary classic on film. Instead he’s created the theme park ride of the book.

Published in: on May 28, 2013 at 19:28  Leave a Comment  
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Film Review: Iron Man 3

This column was originally published in the Central Western Daily on Tuesday 30th April 2013.

Avengers assemble again…in an orderly fashion over the next two years!! Phase 2 of the Marvel Cinematic Universe has begun in earnest with the first of four superhero movies rolling out of the Walt Disney Pictures factory this past week. Iron Man 3 will be followed in October by Thor: The Dark World. Next we have Captain America: The Winter Soldier in April next year, then Guardian of the Galaxy in August, before the superhero mothership mark 2, otherwise known as The Avengers 2, lands on May 1 2015.

The good news is that Iron Man 3 maintains the fun quotient set by its predecessors and isn’t a letdown following the smashingly brilliant geekout that was The Avengers. The storyline picks up directly after the Chitauri invasion of New York and finds Tony Stark (Robert Downey Jr.) unable to sleep following his near death experience free falling from the alien portal. To keep busy, he has designed a further 35 armours, as you do, and is experimenting with a mind-controlled version (Mark 42 for the nerds). A mysterious terrorist attack masterminded by The Mandarin brings Stark back into action as he confronts a new enemy and his own demons.

The challenge for new director to the franchise Shane Black (Kiss Kiss Bang Bang) was finding a villain menacing enough to follow an evil alien race. To his credit, he manages to find two, in Ben Kingsley’s The Mandarin and Guy Pearce’s Aldrich Killian. Kingsley is joyously over the top (and very non-Asian) in a role reminiscent of his turn as The Hood in the terrible Thunderbirds movie. Pearce also seems to be carving a niche for himself in the movie villains department with yet another crazy moustache twirling bad guy, following a similar role in last year’s Lawless.

Alongside the dependable RDJ, Don Cheadle and Gwyneth Paltrow return as James Rhodes and Pepper Potts, respectively. Original franchise director Jon Favreau also reappears briefly as newly appointed Stark Head of Security, Happy Hogan. It’s a testament to the quality of the film, and the whole Marvel Universe franchise generally, that a balance has been found in the storytelling which allows each major character to have their moment in the spotlight and not get lost in a plethora of villains and minor characters.

As with most major Hollywood tentpole releases, Iron Man 3 is available in 2D, 3D and 3D IMAX versions. Filmed in 2D and post-converted, the movie is not a remarkable 3D experience and after a few minutes I forgot about it altogether.

Tony Stark is armour free for the middle third of the film, and it was a refreshing contrast to enjoy a superhero using his brains rather than his brawn, or his powered suit of high tech weaponry in this case. Of course, fans of mega-armoured suit battles aboard oil rigs will particularly enjoy the finale. A rescue of multiple passengers falling from a crippled Air Force One is also exhilarating.

Make sure you stay right to the end of the credits for the traditional Marvel Movie Universe bonus scene. It’s a corker.

A healthy blend of action, humour and melodrama, set in a comfortable, now familiar universe, makes Iron Man 3 a winner in the superhero stakes.

Published in: on April 27, 2013 at 17:51  Leave a Comment  
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