Month: May, 2017

Wonder Woman

Diana (Gal Gadot) and Charlie (Ewen Bremner)The fact that I remain grumpily unsentimental towards the superhero genre I think is a good thing. If anything, it allows me to offer an unflinching opinion of the film on its own merits. And the merits of DC’s cinematic universe has been fairly uninspiring to date. I was genuinely hoping Wonder Woman might be the exception.

As a kid, I never read the comics, my only memory of Wonder Woman being Linda Carter on the old family black and white box waaaay back in the seventies. Well, this is quite the different beast. Wonder Woman is directed by Patty Jenkins who debuted with the similarly female centric (but different in every other way) Monster.  In that film Charlize Theron played the femme fatale who wielded power over men. It was a dark, gritty, brooding, brutal revenge film and in most respects everything Wonder Woman isn’t.  However, an investigation into the theme of feminine power (albeit corrupt in Monster) is present in both films and it’s a credit to Jenkins’ ability as director to handle common themes across two wildly different films.

In Wonder Woman, Diana is princess of the Amazons, a trained warrior, and destined to protect mankind from the misguided god of war, Ares.  After seeing a plane plunge into the waters of her homeland, Diana (played by Israeli, Gal Gadot) investigates and finds Steve Trevor (Chris Pine), a WWI spy for the British cause.  His story of a world at war incites Diana to help end the bloodshed.

Part of the film’s appeal is Jenkins’ attempt to keep things simple and clean. Working with screen writer Allan Heinberg, the film explains the origins of Diana’s character, but unfortunately it doesn’t avoid getting bogged down in the semantics of law and mythology. Abandoning DC’s typically dark and grim style, we are presented with a more lighthearted take on a heroic story in a setting that feels relatively new to DC’s universe. However, the setting is at odds with its fanciful story and the film never feels grounded. A scantily clad woman running through the muddy trenches of war-torn Belgium brandishing a sword and shield borders on the silly (yes, even for a superhero film) and weak attempts at humour only go some way to relieving the absurdity of it all.

Lest we forget that Wonder Woman is still one of the many superhero films that are flooding the market — it is a genre that this decade will be cinematically defined by. I really wanted to report that Jenkins had escaped the gravitational pull of DC’s disappointing back-catalogue and headed into orbit with a superhero film that can be celebrated. I wanted to find an iconic film from the genre that we will fondly look back on in years to come. The search continues.

You can see the published review here.

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The Shack

 

shackHaving sold over ten million copies, William P. Young’s best-selling novel, The Shack, has a reader fanbase that unsurprisingly, has now been tapped into by the movie industry. It is an interesting story of one man’s very personal journey through great loss, depression and redemption.  But does the film handle this story with the gravity it deserves?

Mack (Sam Worthington) and Nan Phillips (Radha Mitchell) have three children.  They are the quintessential all American mid-west God loving family; but when their youngest daughter is murdered, Mack spirals into depression. Then one day a mysterious note is delivered, inviting him to the place of his daughter’s death.  There he meets the personification of the Christian Holy Trinity (God, Jesus, and the Holy Spirit).

For the most part God is played by Octavia Spencer (The Help, Hidden Figures), a homely African-American woman speaking soft social wisdoms as she bakes. Such representations of mystery incarnate have become a cliche since The Matrix presented the disarming Oracle (played by Gloria Foster).  Her motherly (rather than fatherly) portrayal might ruffle some feathers in the Christian fraternity, but given that her persona is someone Mack knows from earlier in his life, it seems that in this instance the personification of God is personal to Mack rather than a middle finger to theology.

At times Mack’s conversations with God raise more questions than they answer. Frustratingly, it had me wanting to dive through the screen and throttle Mack for not asking some obvious ones.  However, the film settles for a curiously satisfying Christian philosophy rather than a Bible-bashing theology. And, it’s important to note that one doesn’t have to be a Christian to understand and benefit from its message.

The very American setting eschews its international production which offers talent from around the globe — the only clue being Sam Worthington (Avatar). Try as he might, he still hasn’t nailed an American accent and his smokey voice sounded at times like he was auditioning for an Australian version of Batman. English director Stuart Hazeldine (Exam) plays it very safe and perhaps misses opportunities to explore the book’s darker themes. The resulting tone constantly errs on surreal beauty (a visual style reminiscent of Vincent Ward’s What Dreams May Come) and its lush backdrops have all the synthetic beauty of a stock wallpaper for an Apple device. So yes, it’s a little smarmy in parts, trite, and laden heavily with saccharin, but The Shack’s emotive qualities caught me off guard and the result was very affecting.  Certainly worth seeing if you’d like a good cry.

You can see the published review here.

King Arthur: Legend of the Sword

 

unspecified-1Nothing stirs me less than a film about King Arthur. In the current scape of entertainment the legend plants itself firmly within the fantasy fraternity of Game of Thrones, Lord of the Rings and the like.  It’s a well trodden path that offers a bland and dreamy world of kings, wizards, and swords.  And the title “King Arthur: Legend of the Sword” really doesn’t do the film any favours. On the flip-side nothing gets me more excited than a film by Guy Ritchie (Lock, Stock and Two Smoking Barrels, Snatch).  He successfully breathed life into the Sherlock Holmes franchise with Robert Downey Jr. So, just maybe, Ritchie could do the same here with Charlie Hunnam who plays the titular Arthur.

I’ll dispense with the plot details as I’m sure most will know the broad strokes of the Arthurian tale. Suffice to say that the film begins with Arthur as a young boy, robbed of his birthright by his power-hungry uncle Vortigern (Jude Law). Cast adrift down the river Thames, Arthur is taken in at a brothel and is brought up the hard way on the dirty back streets of Londinium. It is at this point that Guy Ritchie’s signature style and visual swagger comes to the fore as we are treated to a superb montage that illustrates Arthur’s street-wise life from boyhood through to adulthood. It is a stunning piece of cinema and the visuals that accompany the intoxicating musical score are a pure joy to experience.

There are a few other tweaks (ok, a lot) along the way to accomodate Ritchie’s interpretation of the Arthurian legend. Merlin is replaced by a feisty young woman known only as The Mage (Astrid Bergès-Frisbey), and there are a number of additions that come in the form of Arthur’s band of east-end geezers that lend the film a certain gritty Lock Stock quality;  Back Lack, Wet Stick, Goose-fat Bill, Flat-nose Mike and antagonist Mischief John all make up a vibrant spectrum of wisecracking gutter dwellers. Such characters go a long way to preventing the film from taking the Arthurian legend too seriously, lubricating a healthy dose of humour throughout.

Unfortunately the sum of all its excellent parts doesn’t quite make the film a coherent whole and it gets somewhat bogged down in the mechanics of the Arthurian story. Excalibur is held aloft (yes, any mention of the Arthurian sword must include the word “aloft”) and the film does the opposite. Shame, I would’ve simply enjoyed the telling of Arthur’s life on the street alone.

You can see the published review here.

The Case for Christ

 

tcfcMy reticence towards films that champion fundamental Christianity in contemporary society is that they tend to be preachy and often err on the side of sentimentality and over simplification.  I’m sure there are exceptions but I’ve yet to see any.  The Case for Christ, thankfully, is not one of those films … at least not entirely.

Directed by Jon Gunn (My Date with Drew) with a screenplay written by Brian Bird (Captive) and based on the autobiography of the same name by Lee Strobel, The Case for Christ tells the story of its author’s journey from atheism to a faith based belief in Christ.

It’s 1980 and Lee Strobel, played by a very moustachioed Mike Vogel (Cloverfield, The Help), is an award winning investigative journalist for the Chicago Tribune, and a devout atheist. After his wife Leslie (Erika Christensen) converts to Christianity (the fundamental type), Lee attempts to debunk her beliefs by undertaking an investigation into the crux of the religion — the resurrection of Jesus Christ.  Meanwhile their marriage teeters on the brink of breakdown.

I have read Strobel’s best-selling book and as someone who examined faith through a similar lens I found his investigation a fascinating one. However, here the detailed arguments in the source material have been somewhat glossed over by Bird to allow for its packing down into a two hour film. The unfortunate (but perhaps unavoidable) result leaves its meaty arguments vague at best. However, it does allow the film to explore Lee’s relationship with Leslie. Unfortunately,  the depiction of Lee’s marriage as well as his investigation into Christianity presents two plot lines that feel disparate and neither appear fully realised. Furthermore, the film’s delivery is not without its fair share of mis-steps, cliches and awkward moments. Despite this, Vogel and Christensen do a convincing job of a married couple in torment, but its investigative concerns fall well short of contemporaries like Spotlight or Zodiac.

The Case for Christ does however prove a little more engrossing than most films of its denomination and raises some intriguing questions. One might posit that the more Strobel investigated the Christian world the more he succumbed to its rhetoric — a sort of Stockholm Syndrome for journalists. Or perhaps Strobel dug up some genuine truths. Thankfully, it focuses more on the story than the pulpit.

You can see the published review here.

Get Out

 

getoutSo, what’s your “thang”, Chris? — a question posed to the black protagonist of Get Out.  The seemingly innocuous question by his girlfriend’s white dad highlights the reductive stereotypes tackled in Get Out.  Jordan Peele has boldly stepped into the director’s chair for the first time and delivered a scathing social critique that is dressed up as a horror film.  It’s nothing new for the horror genre to be a vehicle for social commentary — Zombies as metaphor for consumerism, misogyny equating to pathological fear of feminism, yada yada yada.  However, it is rare for horror to comment so vehemently on race, as is the case in Get Out. It’s a subtext that the film wears proudly on it sleeve for all to see, in fact it’s barely a subtext at all.  It’s so assertive about racism, in comparison it makes American History X feel like a film about cheese making.  Forget about your clichéd southern hillbilly racism, this is the benevolent but sinister brand of racism that is firmly ensconced in the underbelly of liberal America.

Chris (Daniel Kaluuya), a young Brooklyn photographer, is about to meet the parents of his girlfriend Rose (Allison Williams).  He is understandably nervous — he’s black and she’s white. Their trip out of the city to her family’s secluded mansion makes him more uncomfortable when he meets their peculiar black servants. Rose’s mum (Catherine Keener) is hellbent on hypnotising him to cure his smoking habit and her dad (Bradley Whitford) overcooks his efforts to let Chris know he’s not racist.  Clearly, all is not as it seems.

Right from the start Get Out turns the typical horror tropes on their head and establishes a different set of rules for what is a “safe place” and who are “safe people”. The opening sequence sees a black male accosted on the streets of a white suburban neighbourhood. Such locations are typically familiar and safe territory in horror, but here they are presented as dark and hostile.  By contrast the introduction of Chris’s homely Brooklyn flat is adorned with his photographs of black life within a housing project — these are Chris’s “safe” places, and as he is the central character that we are supposed to identify with, it throws up some interesting and fresh perspectives.

Get Out excels when it’s developing mood rather than jump scares — its undertones being far more vocal and interesting than the plot which unfortunately gets a little carried away with itself towards the end. Despite this Get Out is well worth seeing and is a genuinely fresh take on the genre.

You can see the published review here.