Star Trek Into Darkness (2013)

May 9, 2013 by Leave a comment

Star Trek Into DarknessDemoted after an attempt to save an alien race results in the U.S.S. Enterprise breaking the Prime Directive, James T. Kirk (Chris Pine) finds himself playing First Officer to Christopher Pike’s (Bruce Greenwood) newly reinstated Captain. When Starfleet headquarters is attacked by a rogue officer called John Harrison (Benedict Cumberbatch), The Enterprise is given the responsibility of tracking the terrorist to an uninhabited region of the Klingon homeworld and destroying him with a payload of special, long-range photon torpedoes. When Spock’s (Zachary Quinto) unease convinces the Captain to capture rather than kill Harrison, however, the very future of the Federation is thrown into jeopardy.

Ever since it was first announced, Star Trek Into Darkness has been a source of constant confusion. What took so long? Who is John Harrision? And, most pressingly, how are we supposed to be punctuating the thing — with a colon or without? As with Lost, Cloverfield and Super 8 the film itself was shrouded in a darkness of its own. Rather than simply withhold information, however, the filmmakers have been actively misinforming, even to the point of flat-out lying about certain plot details. Coupled with a heavily deceptive advertising campaign, they have warped expectations to an extent eerily reminiscent to last year’s Prometheus. Needless to say, Damon Lindelof — who only produced 2009′s Star Trek — has now been promoted to co-writer.

While Star Trek Into Darkness is nowhere near as disappointing as Ridley Scott’s “prequel”, it is still not a comparison you really wish to make, particularly as it isn’t quite as interesting as a misstep, either. Whereas the first film was delightfully simple in its intent — its mission statement being to reintroduce the crew of the starship Enterprise to a largely new audience — the point of the sequel is much less clear. Despite his insistence to the contrary, Abrams has made a number of concessions to the extant franchise as a whole, bending his own narrative out of shape in an attempt to appease the more traditional Trek fanbase felt to have been left out by his earlier reboot. But these compromises are only ever just that, thinly veiled Easter Eggs, leaving one half of the audience scratching their heads at obscure references and the other grasping desperately at straws.

Abrams has taken on his own Kobayashi Maru and lost; trying at once to appeal to hardened fans while simultaneously endeavouring to tell a story accessible to newcomers and novices is a no-win scenario, a situation he was wise to avoid the last time around. Star Trek Into Darkness feels like a mini-series condensed into one single awkward instalment. Elements such as the Klingon-Federation tensions and the founding of New Vulcan are introduced but never really developed, indicating a long-game that Abrams himself might not be around to oversee. For the second movie set in this new timeline, Star Trek Into Darkness contains a sometimes overwhemling amount of exposition, an inundation that is even more  marked considering just how relatively straightforward the first film was to follow — even with its time-travel and decades-spanning narrative.

And yet Star Trek Into Darkness is far from unentertaining. From the high-octane opener to the genuinely exhilarating finale, Abrams’ film once again barrels along at warp speed. Michael Giacchino’s score accompanies the action beautifully, developing the themes from the first movie while also knowing exactly when to bow out, both to let the actors shine and to give the now-iconic sound design a chance to stand on its own (the Enterprise itself may be my favourite character of all). The returning cast are as good as ever in the leading roles, each getting plenty of opportunities to continue making those characters their own. None of the newcomers really make that much of an impression — even Benedict Cumberbatch struggles — but the likes of Kirk, Spock and Uhura (an impeccable Zoe Saldana) remain a joy to watch.

There is still plenty to like about Abrams’ sequel — the cast are great, the pace is exciting and the effects are often sensational (and, unlike Iron Man 3, definitely worth watching in 3D) — but this cannot hope to compensate for an episodic structure and a story that attempts to please everyone, but winds up satisfying no-one as a result. As Star Trek Into Darkness nears its end, it becomes increasingly clear that you haven’t actually gone anywhere at all, boldly or otherwise. The voyages of the starship Enterprise haven’t even begun.

3-Stars

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John Dies At The End (2013)

May 9, 2013 by Leave a comment

John Dies At The EndWhile watching his friend John’s (Rob Mayes) band play one night, Dave (Chase Williamson) overhears a Jamaican drug dealer (Tai Bennett) declare to a group of party-goers that he has psychic powers after taking a newly available narcotic. When first John and then Dave find themselves dosed up on Soy Sauce, they too develop a number of strange abilities. Their powers come at a price, however, as the drug is proving lethal to some and making the survivors vulnerable to possession by an inter-dimensional entity called “Shitload”. In the future, Dave describes his experiences to Arnie Blondestone (Paul Giamatti), a reporter.

The latest film from Phantasm and Bubba Ho-Tep director Don Coscarelli, John Dies At The End has already amassed something of a cult following through screenings at film festivals such as Sundance, Glasgow’s FrightFest and, most recently, Dundee Contemporary Arts’ Dundead weekend. An adaptation of the comic horror novel of the same name by Jason Pargin, the film is currently without UK distribution.

It goes without saying that that is only half of the story, however, as John Dies At The End also finds room for zombie skinheads, frozen meat-monsters, ghost doors, sentient animals and a TV infomercial psychic named Albert Marconi (Clancy Brown). Like Bill & Ted, A Town Called Panic or even Coscarelli’s own Bubba Ho-Tep, this is a film that forsakes traditional narrative and structured storytelling in favour of a surreal, stream-of-conscious procession of nonsensical set pieces loosely tied together by a few lines of narration and one determined editor. Unlike those films, John Dies At The End follows a non-linear approach, jumping back and forth in time as the filmmakers see fit.

From Chase Williamson’s dry, unfazed voice-over at the film’s outset, you immediately have a sense of what John Dies At The End has in store. As Dave ponders whether or not a recently repaired axe is technically the same one that killed a neo-Nazi hick now resurrected and looking for revenge, it’s clear that there is no point forming expectations or making predictions. This eccentricity and unbridled glee in beggaring belief is often entertaining — a stand-out scene sees Dave conversing with John’s disembodied spirit through the medium of a hotdog — but soon you begin to miss the simple satisfactions of character development, dramatic tension and, well, a plot.

Thankfully, the actors are charismatic enough to carry much of the burden, meaning that you’re never truly bored even when the story has gone off on its umpteenth tangent and ceased to make any sense whatsoever. Williamson is great in the leading role, revelling in the absurdity of the script as he fires off yet another round of quick-witted quips or surprisingly profound philosophical questions. Rob Mayes is a lot of fun too as the eponymous John, while Paul Giamatti is obviously having a good time as the sceptical journalist listening to the story unfold. It’s also nice to see Doug Jones on one of the rare occasions he is not buried beneath a few pounds of prosthetics. Here he appears as an inter-dimensional traveller with a thing for space-slugs.

Bonkers, bizarre and occasionally brilliant, John Dies At The End is one of those movies that dares to be different. Unfortunately, in his determination to be flippant, unpredictable and obtuse, director Don Coscarelli has deprived his film of dramatic weight. Whether or not John does die at the end, it hardly matters. And that is both the film’s biggest success, and it’s ultimate failure.

2.5-Stars

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21 & Over (2013)

May 9, 2013 by Leave a comment

21 And OverHaving planned a surprise birthday party for Jeff Chang (Justin Chon), Casey (the improbably named Skylar Astin) and Miller (Miles Teller) arrive to find their friend preparing for a quiet night in on the eve of an important job interview. Convinced to go out anyway by Miller, Jeff gets increasingly drunk until he his no longer lucid enough to tell his wing-men where he lives. Stranded and with just hours to go until dawn, they must find their way home before Jeff’s domineering father (Lost‘s Francois Chau) arrives to escort his son to a meeting his budding medical career may well depend on.

It seems that every comedy released these days is presented by the producers, foley artists or Best Boy of The Hangover, and 21 and Over is certainly no exception. Written and directed by Jon Lucas and Scott Moore — who bonded over The Wolfpack’s first ill-fated trip to Las Vegas — this new film pits another demographic against the dangers of excessive alcohol consumption. The Hangover had men, Bridesmaids had women and now 21 and Over boasts the worst of both worlds: students.

It would be easy to criticise 21 and Over as a cynical and hugely unimaginative attempt to cash in on the success of Todd Phillips’ Hangover franchise, as that is almost exactly what the film is. As misogynistic as Phillips’ films and as inconsistently funny as Bridesmaids, the movie is for the most part just a group of horrible people doing horrible things in equally horrible ways. Although likeable enough in the remake of Footloose, Teller here is reduced to the role of mean-spirited bully — a necessity in this genre, or everyone else would have just gone to bed hours ago — previously played by Zach Galifianakis and Melissa McCarthy.

Lucas and Moore’s film is often painfully formulaic, the screenplay acting as a checklist of all the things that worked from the previous movies. There’s the missing friend, the token animal (this time it’s a buffalo) and the ticking clock plot device; the clock even rewinds after a shocking reveal to show the previous night’s events in order. Despite the many similarities, however, there are subtle differences. While it’s a depressing point to have to make, it’s genuinely refreshing to see a non-white actor in the leading role of an American comedy. While there are a number of jokes made by Miller at Jeff’s and Jeff’s father’s expense, there is thankfully more to his character than just the usual racial stereotype.

21 and Over is not original, or even particularly good, but there is undoubtedly some fun to be had (watch out for the oh-no-he-didn’t tampon scene) and the movie is on the hole pretty harmless. In addition, Astin and Chon are likeable enough in two of the three leading roles, while there is a thread running through the film about the impact of college on childhood friendships that even manages to partly redeem Teller by the time the credits roll.

2-stars

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Dead Man Down (2013)

May 8, 2013 by Leave a comment

Dead Man DownSeeking revenge for the death of his wife and daughter, Lazlo Kerick (Colin Farrell) — now going by the name Victor — infiltrates the crime empire of the man responsible, a ruthless kingpin called Alphonse Hoyt (Terrence Howard). Lazlo is forced to accelerate his plans when Darcy (Dominic Cooper), a friend from within Hoyt’s outfit, perceives a threat and begins to investigate. Meanwhile, Victor’s motivations are tested when he strikes up a romance with French neighbour Beatrice (Noomi Rapace).

With the likes of Arnold Schwarzenegger and Bruce Willis pushing retirement age, despite desperate and doomed attempts to recapture their glory days with sequels to their previous hits, it seems we have to find new tough guys to save us from the Germans, Chinese and Soviets. Sure, there’s always Batman and Spider-man to cover our backs against the super-villains of this world, but what happens when the threat is a little more…mundane.

Hollywood has so far answered with names like Nicolas Cage and Liam Neeson, but, really, who are they kidding? Both are already half way over the hill themselves. Jason Statham is good for a British gangster or two, Gerard Butler might be able to fend off Katherine Heigl or Jennifer Aniston, and Dwayne Johnson will keep the kiddies safe, but who else is there to count on when things get personal? There is another hope, it turns out, and as Dead Man Down serves to remind us, that man is Colin Farrell.

Niels Arden Oplev’s film is not remarkable, thrilling or even particularly memorable, but — in a year that sees (the otherwise delightful) Helen Mirren re-kicking ass in RED 2 – it is believable. Farrell even manages to convince in flashback as a bearded Hungarian engineer, demonstrating a chameleon-like acting ability that’s every bit as impressive as his physicality. While the pace at times may lag, he continues to cut a compelling figure, particularly in his burgeoning romance with Noomi Rapace’s Beatrice, a beautician by profession before she was disfigured in a car accident.

As with any film lucky enough to feature her in any capacity, Dead Man Down is at its best when Rapace is onscreen. There aren’t many laughs to be had, but it is Beatrice who occasionally manages to raise a smile (“At least it’s not my good side”), her brutal backstory and murky motivations immediately setting her apart from the typical love interest archetype. Even when she is eventually captured and used as leverage, Rapace never feels like a damsel in distress. After all, this is Lisbeth Salander we’re talking about.

It would be easy to dismiss Dead Man Down, or, worse, deride it as dull, ill-defined and — in lighting terms at least — tediously dim. But, if the alternative is a production-line action movie starring almost literally anyone else, I’d much rather be watching Dead Man Down, even despite its many flaws.

2-stars

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Heroes And Hypocrisy: Batman Begins vs. Iron Man 3

May 4, 2013 by 2 Comments

Batman Begins Iron Man 3The following article contains spoilers for Batman Begins and Iron Man 3.

Ever since 2005, when Christopher Nolan opened The Dark Knight Trilogy with Batman Begins, comic book fans and general moviegoers have been unanimous in their praise of his singular vision. In particular, they’ve commended the way in which he overlooked or nigh-on reinvented established characters to better fit his own take on the source material.

The more unlikely villains in Batman’s rogue gallery were ostracised for fear that they detract from the film’s more realistic feel, while others like Anne Hathaway’s Catwoman were toned down and never referred to by name; Robin was all but left out as Nolan sought a more serious tone, one that had little room for a Boy Wonder; and finally, unable to settle on a love-interest from the character’s seventy-odd-year history, he fabricated one of his own: Rachel Dawes.

One year on from the trilogy’s completion, following the release of The Dark Knight Rises last summer, Nolan’s trilogy is widely regarded one of the best — if not quintessential — series in the genre. After all, it saved DC’s Batman franchise from an early grave dug by Joel Schumachar, and simultaneously appealed to more casual cinemagoers previously put off by the character’s sillier elements. It even won a couple of Oscars for its efforts.

From this example you’d expect faithfulness to rank pretty lowly on audiences’ individual checklists. Put a great director in charge of a comic book adaptation (preferably one coming off the back of a lesser instalment) and let them make the best movie they can, just so long as they pick and choose enough elements from the source material so that it is still recogniseable, if only in name. Not so, it seems.

Having united each of its constituent franchises (and, it seems, every audience member alive today) in 2012′s The Avengers, rival studio Marvel finally moved into phase two of its plans for a cinematic universe. Hiring another filmmaker straight out of left-field, Marvel put Iron Man 3 in the hands of Shane Black, then best known as the writer of Lethal Weapon and the director of Kiss Kiss Bang Bang.

Like Christopher Nolan, Shane Black was an auteur, and one who was only too happy to bend the source material to meet his own directorial style. But where Nolan was commended for his changes, Black was criticised; suddenly it was disrespectful to drop characters, an insult to mess with established canon and irreverent to make your own movie, rather than that desired by the audience at large.

The main point of contention here is The Mandarin. Whereas Nolan could reinvent Ra’s al Ghul — for fear that pitting Christian Bale against a 600-year-old martial artist who digs magic holes might stretch credibility — Black, it appears, couldn’t. In the comics, The Mandarin is a racist stereotype with ten mystic rings capable of doing everything from rearranging matter to disintegrating foes. This time it seems that is what must be delivered, and nothing else.

But Black didn’t. Like Nolan’s insistance that Batman is a symbol and not just a man, Black pursued an alternative approach: as with Ra’s al Ghul, The Mandarin is presented as a decoy, a man playing a part while the real villain operates in the shadows. Ben Kingsley threatened to steal the film as out-of-work actor Trevor Slattery, the mouthpiece for Guy Pearce’s true villain. Unlike the case of Ra’s al Ghul, the fans weren’t having it.

The only difference between the two approaches that I can see is that while Nolan delivered a trilogy packed with pretense and cod-philosophy, delivering a psuedo-intellectual film that could be held up as proof that comic book movies aren’t just for children, Black treated Iron Man 3 as one big, universal joke. But rather than enjoy the wit and humour of Black’s misdirection, the fans have taken offence at it, viewing such flippancy as an attack on the characters and culture that they hold so dear.

But it’s the same situation: auteurs imposing their own style on a beloved character, often at the expense of convention and canon. Both are solid, worthy movies, it’s just that Black decided to make his fun to boot. Really fun.

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April 2013 – You’re all going to die tonight

May 1, 2013 by Leave a comment

Iron Man 3 posterIt’s been a strange month.

Opening with the latest Stephanie Meyer adaptation and climaxing in two of the goriest movies I’ve seen in years, April has been even more of a mixed bag than most.

The Host got things off to a terrifically terrible start, with a Mormon message that was somehow even less subtle than the chaste vampires and monogamous werewolves of The Twilight Saga. The multiplexes didn’t have much else to offer for the first week of April, except for 2012 cast-offs G. I. Joe: Retaliation and Jack The Giant Slayer.

Thankfully, things picked up as the month wore on. Both Robot & Frank and Dark Skies proved pleasant enough surprises, the former elevated by a powerful central performance from Frank Langella and the latter benefitting from an unusually strong script. Spring Breakers also impressed thanks to  stylish visuals and a stunning soundtrack, though it was ultimately let down by a lack of subtlety. Trance and Oblivion, however, were much less memorable.

The aforementioned horrors, while both remakes, each managed to make an impression. Maniac provided a Hobbit’s-eye view of some of the most brutal death scenes in recent memory, while Evil Dead dropped not only the original’s definite article but its silly sense of humour too, to nerve-shredding effect. Although entertaining, they were soon eclipsed by Iron Man 3, a film which divided fans but seems to have delighted everyone else.

Outside of the cinema I continued to contribute content to Best For Film, began writing for The Hollywood News, and participated in My Film Views’ Moviesite Spotlight. In addition, Popcorn Addiction was also nominated for the Best New Lamb Award by the Large Association Of Movie Blogs. So good strange, I guess.

Film of the month: Iron Man 3

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Maniac (2013)

April 29, 2013 by Leave a comment

ManiacSomeone really should talk to Frank (Elijah Wood); mistreated as a child, he has been left to mismanage his family’s failing business, all while suffering crippling migraines for which he requires heavy medication. Rather than seeking therapy and finding new employment, however, Frank has given into his disturbed desires, fetishising his stock of restored mannequins and scalping unsuspecting victims in a perverted attempt to recreate his absentee mother. When artist Anna (Nora Arnezeder) asks to use Frank’s dummies for a photographic display, it seems that Frank has found his next target. Read more of this post

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Iron Man 3 (2013)

April 25, 2013 by Leave a comment

Iron Man 3Nothing’s been the same since New York. Having helped save the world from an angry God and his alien army by flying a nuclear missile into a wormhole, Tony Stark has–understandably–been finding it a little difficult to sleep. Spending his nights at work in the basement, he has created a new armour that assembles itself, the Mark 42. Unfortunately, this has had an impact on his relationship with girlfriend and CEO of Stark Enterprises Pepper Potts (Gwyneth Paltrow), issues that are –again, understandably–exacerbated when he gives their home address to The Mandarin (Ben Kingsley), a ten-ringed terrorist looking to teach America a lesson. The resultant attack leaves Stark disarmed in Tennessee,  Potts in danger and Col. James Rhodes (Don Cheadle) left to track down The Mandarin himself, as the newly star-spangled Iron Patriot. Read more of this post

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Evil Dead (2013)

April 22, 2013 by Leave a comment

Evil DeadIn an attempt to wean Mia (Jane Levy) off of drugs, brother David (Shiloh Fernandez), his girlfriend Natalie (Elizabeth Blackmore) and best friends Eric (Lou Taylor Pucci) and Olivia (Jessica Lucas) retreat to the family’s old log cabin for the duration of her treatment. A strange smell leads them into the buildings basement, where they discover a shotgun, the hanging corpses of several dead cats and a book wrapped in human skin. When curiosity gets the better of him and school teacher Eric reads one of its many inscriptions, an ancient evil is unleashed which latches onto Mia and endangers the lives of everyone in the group. Read more of this post

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Trance (2013)

April 16, 2013 by 1 Comment

TranceSimon (James McAvoy) is a fine art auctioneer responsible for delivering the more expensive items to safety in the event of a robbery. This puts him in stark opposition with Franck (Vincent Cassel), an art thief  looking to steal Francisco Goya’s Witches in the Air. Fortunately for Simon he is in league with Frank, aiding in the paintings acquisition; unfortunately for Simon, an injury suffered during the operation has rendered him amnesic and unable to recall the painting’s location. When he is sent to hypnotherapist Elizabeth (Rosario Dawson), however, reality begins to unravel as old memories come to the surface. Read more of this post

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