Tag: Woody Harrelson

Midway

mwVerdict: An overblown and corny theme-park ride.

If you liked Pearl Harbour, then you’ll love Midway… but that’s not saying much. Pearl Harbour was a posturing leaky barrel of testosterone that overflowed with commercial bluster and was most likely an insult to those who suffered from the real-life event.  Midway is more of the same, an unintentional sequel of sorts that focusses on events post Pearl Harbour that led up to the battle of Midway.

Dick Best (don’t ask), the obligatory wise-cracking gum-chewing hero (played by Ed Skrein), leads us into battle. He’s the best Dick around. Yep, a real Top Gum (he doesn’t ever stop chewing), a chiselled jawed Wriggly’s advert who spouts machismos like “Let me put a 500-pound bomb right down their goddam smokestack”. Behind him all the way is, of course, his dutiful wife (Mandy Moore), Woody Harrelson’s silver wigged Admiral Nimitz and a supporting slew of military archetypes who head off to save the Pacific and the Free World. 

It’s writer Wes Tooke’s first crack at a feature film. It shows. His screenplay would make a Baz Luhrmann film feel wooden, with a robotic script that brims with needless exposition.  There is so much “tell and also show” going on, that Tooke has seemingly dropped his own 500-pound word bomb down the goddam smokestack of this film. Fool of a Tooke!

To be fair, this heaving special effects-laden extravaganza is everything you’d expect from a director such as Roland Emmerich. He’s the one responsible for patriotically gouging our brains out with Independence Day and White House Down among other “God Bless America” middle-of-the-road block-busters. Midway is all that and more, and you’d be fairly naive if you went in expecting anything else.  In fact, Emmerich’s bombastic eye-candy may indeed be the perfect foil for Tooke’s mechanical script—it’s almost admirable how the duo have achieved peak-brain-dead-commercial-crap. It’s a “himbo” of a film; handsome to look at but not much above deck.  Unfortunately, Midway treats its audience similarly.
 

See my reviews for the NZ Herald here and for Witchdoctor here.

LBJ

lbjHot on the heels of Chappaquiddick comes another American political drama that wades neck-deep into the complex machinations of America in the sixties. This time it retells the story of Lyndon B. Johnson’s untimely rise to power as a result of John F. Kennedy’s assassination.

The film’s title, LBJ, sardonically mimics Lyndon B. Johnson’s desire to emulate the acronym’d greats of the Oval Office (JFK, FDR, etc.). And despite sounding more like a new gender fluidity term for the twittered masses, his is an acronym that stuck. 

As the film attests, Johnson was viewed by some in the office as a wolf in sheep’s clothing; a Democrat in name only who hearkened from the deep-seated Republican hotbed of America’s south. But as it turns out, he wasn’t quite the red-neck they had him pinned for, managing to eventually push through Kennedy’s controversial Civil Rights Bill, around which much of this film revolves.

Inches deep in facial prosthetics Woody Harrelson’s portrayal of the divisive politician is surprisingly animated; a testament to Harrelson’s immense screen presence.  The same can’t be said for Jeffrey Donovan, whose robotic portrayal of John Kennedy shows even less life than Harrelson’s inanimate hair-piece.

Director, Rob Reiner (A Few Good Men) has elected to dice his story up by inter-splicing the main action of LBJ’s political wrangling as vice president, with brief flash-forwards of JFK’s doomed cavalcade.  The building tension is palpable as the cavalcade begins to pass recognisable landmarks that we’ve all seen in the historic footage of JFK’s death.  The inexorable pull towards the catastrophic events that would put LBJ into the oval office makes for intoxicating viewing.

Unfortunately after such a solid build-up, Reiner slips into neutral for the film’s final stanza and seemingly loses interest in telling a compelling story. Despite the charismatic performance by Harrelson who skilfully walks the tightrope of moral quandaries and myopic determination, LBJ’s flat finish renders it a disappointing fizzer.

See my reviews for the NZ Herald here and for Witchdoctor here.

War for the Planet of the Apes

poaContents don’t always match what is printed on the tin. War for the Planet of the Apes’ lengthy title (let’s just call it WPA) and marketing material suggest that you’re likely to be be subjected to two and a half hours of bloodshed, courtesy of a certain Wellington digital effects company.  But WPA is far more introspective than advertised. Sure, it’s not La La Land, but WPA has a lot less “war” in it than we’re led to believe. Critically, comparisons have been made with Ford Coppola’s Apocalypse Now.  Famously, Ford Coppola reworked Joseph Conrad’s novella Heart of Darkness, by expressing its themes of colonialism, self-discovery and the meaninglessness of evil against the backdrop of the Vietnam war. In WPA the astute viewer will pick up on this comparison fairly quickly, but for those not familiar with Coppola’s film, a wall graffiti’d with “Ape-pocalypse Now” is plain for all to see.

WPA picks up where Dawn of the Planet of the Apes left off. Chief ape Caesar (voiced and motion-captured by Andy Serkis) certainly hasn’t lightened up since his last outing. He’s not the kind of chap you’d invite over to liven up a dinner party, but he wears his pouty face and moody Batman style voice for good reason — his wife and son have been killed by a sadistic human known only as the Colonel (Woody Harrelson). As Caesar and four other riders “head up river” to hunt down the rogue Colonel, they pick up a mute human girl (Amiah Miller) who provides the film with a welcome human counter-balance to the Colonel’s corruption.

WPA begins as a war film, then becomes a western borrowing heavily from the likes of True Grit, and then descends unabashedly into a POW escape caper. Yes, its a mosaic of different genres that somehow blend into a gripping whole.

What is extraordinary is a narrative which focusses on the ape’s world, with human considerations being ushered into the margins. The plausibility of ape protagonists who communicate predominantly in sign language, with the only significant humans being signifiers of evil, or relegated to speechless vessels, must’ve been a hard sell to the studio execs. But WPA presents its ambitions with total confidence and is bursting at the seams with plausible characters who are brought to life with perhaps the most stunningly believable digital effects to date. When the Colonel stares at Caesar and says “My God. Look at your eyes. Almost human”, it is as much a meta-comment on the incredible digital work as it is on human-simian relations.

Its many parts are curiously engaging and despite the misleading marketing, WPA culminates as a compelling block-buster option these school holidays.

You can see my published reviews here.