RELEASE DATE: October 16, 2015 STUDIO: Legendary Pictures DIRECTOR: Guillermo del Toro SCREENWRITERS: Guillermo del Toro, Matthew Robbins
STARRING: Charlie Hunnam, Tom Hiddleston, Jessica Chastain, Mia Wasikowska, Burn Gorman GENRE: Horror
Synopsis
In the aftermath of a family tragedy, an aspiring author is torn between
love for her childhood friend and the temptation of a mysterious
outsider. Trying to escape the ghosts of her past, she is swept away to a
house that breathes, bleeds...and remembers.
Thoughts
The film has a Sleepy Hollow feel to it, with Del Toro's characteristic fairy tale, period style. I'm looking forward to seeing this incredibly talented director redeem himself after the disaster that was Pacific Rim.
Ex Machina is a beautifully crafted, subtle and mesmerizing sci-fi gem. Where recent sci-fi films like Transcendence, The Signal and The Machine went wrong, director Alex Garland got everything right. The plot follows young computer programmer Caleb, who is asked by his eccentric boss Nathan (a billionaire search engine CEO) to join him at his country retreat to perform some tests on, Ava, the revolutionary A.I. that he has recently created.
The music and cinematography are sensational. Ava is introduced during a beautifully subtle scene in which I was expecting to hear the words: "I'm Rachael..Deckard". I can't help but draw comparisons between the narrative of Ex Machina and Blade Runner. It's like Ava is Rachael, Caleb is Deckard, and Nathan is Dr Tyrell (If Dr Tyrell was an alcoholic mad man.) Ex Machina also asks the same fundamental questions that Blade Runner does: what makes us human, and will A.I. be a good or bad thing for mankind etc.
The production design was spot on. All the sets looked very convincing and the CGI on Ava looked amazing. I thought the plot twists were delivered well enough (if a little predictable); and not that I didn't like it, but the ending came as a bit of a surprise. Having produced some classics of sci-fi and horror in the past, Alex Garland's transition into the directors chair has been a seamless one. Ex Machina is the best indie sci-fi I've seen since Duncan Jones' Moon (2009), and would easily make my top twenty greatest sci-fi films of all-time. I look forward to seeing more from Alex Garland in the future.
Much like Joaquin Phoenix throughout the film, I think you would have to be as high as a kite to even write a synopsis for this film, let alone a review; as I imagine Paul Thomas Anderson must have been when he directed it. I tried my best but I just didn't get what the film was trying to do. Playing out at times more like a surreal comedy like Fear and Loathing in Las Vegas, rather than a noir detective story.
From about twenty minutes in, I didn't know or want to know, what the plot was about, I really didn't care. I also didn't detect any detective story in there; if there was one, then it must have dispersed among the many of Joaquin Phoenix's psychedelic drug binges. Don't get me wrong, the film is hilarious and both Joaquin Phoenix and Josh Brolin are excellent in it. The problem is, I didn't know where the comedy finished and crime drama began. Most of the film felt disjointed and lacked energy, and I almost fell asleep half way through the two and a half hours, which felt like an eternity. I think Inherent Vice is a bit of a misfire by Paul Thomas Anderson - a classic case of a novel not converting well into a film.
Th few hilarious moments and great performances are this film's only saving grace. I just hope PTA will be back on form for his next film.
Jennifer Lawrence plays a seventeen-year-old girl, Ree, who sets out in search for her missing meth cook father. Ree must either find him or evidence of his death within a week or her father's bail bondsman will repo the family home. This begins Ree’s journey among the meth-ruined lives of her nearby extended family.
Jennifer Lawrence's portrayal of a strong-willed, tenacious young women, trying to look out for her younger siblings and her mentally ill mother, was outstanding (defiantly her best performance to date.) The film has subtle feminist undertones, and because of its detective story style, it has also been labeled 'country noir' by some. It's a solid enough drama. Its only weakness is it takes a while to get going and it gets a little repetitive and loses momentum in places, but Jennifer Lawrence's performance shines through and manages to hold it all together.
Stalker is a very complex film, however, its plot is very simple: a man living in a desolate and miserable industrial Russian town, promises two men (a writer and a professor), that he will guide them to the center of a forbidden area known as 'The Zone' to find a room which can apparently grant wishes. The films power is in its symbolism and breathtaking cinematography. The train journey of the three men near the start of the film is a perfect example. You would think that with the foreboding and surreal atmosphere created, the men were aboard a spaceship on their way to a distant and unknown world. The change in picture color between the men's home and the mysterious 'Zone', reflects both their hopes and expectations about what they might find, and the relief of having escaped their dreary and depressing lives.
Much like Persona, Stalker has more emphasis on characterization and has a more minimalist style. The film is a visually dazzling masterpiece. My two favourite scenes are the dream sequence and the scene near the end of the film in which the Stalker's daughter is sitting on his shoulders. Both obviously very symbolic and ambiguous scenes, made all the more powerful by the haunting music. From start to finish the film had me asking questions. It's the kind of film that requires audience participation to work, that's it power, the ability to make people think about things.
Stalker isn't for everyone (it is high-art after all). It's also three hours long, which I wasn't expecting (maybe a little too long if I'm perfectly honest). However, after the first viewing, the film becomes infinitively re-watchable because of it's mystique - defiantly one of those films that you must watch before you die.
Logan must face off against his former masters' latest creation in his
laboratory at alkali lake. The is one of the greatest one on ones in the
marvel films. Logan is almost identical to her except she is more a
nimble than a cat on speed.
9. Magneto Moves The Golden Gate Bridge (X-Men: The Last Stand)
Magneto uses all of his powers to move the bridge so his army of
mutants can cross onto Alcatraz island for the final battle. One of the
best CGI set-pieces so far.
8. Heimdall Takes Down Cloaked Enemy Ship (Thor: The Dark World)
In this awesome scene, Heimdall, the all-seeing and all powerful
gatekeeper of Asgard, single-handedly takes down a giant enemy ship with
his swords.
7. Thor vs. Malekith (Thor: The Dark World)
Thor and his families ancient enemy Malekith travel through dimensions back
to London and begin a epic duel which tears the city apart.
6. Spider-Man Stop Speeding Train (Spider-Man 2)
During his battle his Doc Ock Peter Parker finds himself in the unfortunate
position of being on a speeding train with no brakes. He uses all of his
strength, and a hell of a lot of web, to slow the train before it
plunges from an overpass.
5. Captain America Vs The Winter Soldier (Captain America: The Winter Soldier)
This film came as a big surprise to me. The final epic battle on board the sky-ship, is very reminiscent of the scenes from the Avengers in which Iron saves the day. One of the best fight scene finales in the Marvel films so far.
4. Thor Regains His Hammer and Power (Thor)
In this epic scene, Thor regains his hammer and all his power, which is
granted to him by his father. The scene is made all the more powerful by
the transitions back and forth for Anthony Hopkins.
3. Night Crawler Attacks The President (X-Men 2)
One of the single best uses of CGI in one scene, not only in a Marvel film,
but any action film. The illusive teleporting Nightcrawler leads the
Whitehouse's security detail of a wild goose chase and manages to give
the president a stark warning .
2. Drone Fight (Iron Man 2)
Although the film my not have been a total hit, there are some scenes in it that
are well worthy of merit. This battle, which see's Tony Stark team up
with his friend War Machine to fight off swarm of drone bots, is one of
the best all action CGI-fests to date.
1. Final Battle (The Avengers)
The best battle scene so far in this CGI extravaganza. Every character is involved and every building is a target. The Avengers kill the alien invaders, while at the same time leveling half of New York - Man of Steel style.
Honorable Mentions
Hulk vs Loki (The Avengers)
Just because it's comedy gold.
Hulk Vs Abomination (The Incredible Hulk)
Wasn't sure about this one. Great fight scene, but I wasn't too keen on the film as a whole.
Magneto Breaks Out of Prison (X-Men 2)
Should have been included in the top ten really but there were just too many scenes to choice from.
Mystique Attacks The Guards at Striker's Base
Always a pleasure to see the little blue gal doing what she does best.
Logan Vs Victor (X-Men Origins: Wolverine)
As the rest of the film was pretty poor and this was the only highlight, I
decided to leave this one out. Still a pretty good fight, though.
Jean Grey Kills Professor X (X-Men: The Last Stand)
Probably the best scene in the film. Jean Grey can't control her power any longer and she literally disintegrates professor X.
I'd been meaning to watch 12 Angry Men for a very long time but never got around to it till now. It's one of those films you always see on 'the best films ever made' lists. Now, the word masterpiece gets thrown around a lot these days and most of the time it's not justified, but in the case of 12 Angry Men, it is, very justified. I can say that without a doubt it's one the greatest films I've ever seen. It's perfect in every creative aspect: script, direction, performances, and setting.
The 12 Men lock horns in a sweltering jury room to decide the fate of a young man accused of murdering his father. Henry Fonda plays the knight in shining armor, trying to convince the jury of the boys innocents. The film is ultimately a character study of different personalties from different walks of life - and, whilst locked up in the sweltering jury room, the tension between the characters becomes immense. They argue for hours, during which time they exchange opinion, racial bigotry, class stereotypes, bias and insults. The last half hour is edge of your seat stuff, as slowly but surely the jurors change their verdicts to not guilty.
The performances were amazing, and I especially liked Jack Klugman. The most powerful and moving parts of the film were the face-offs between the characters, which were brilliantly filmed: the camera zooms right in on them both as they speak their pieces, which created bucket loads of tension. The story is an emotionally roller coaster for the audience, and for a film only 90 minutes long set almost entirely in a single room, that is quite a feat. I suppose the message behind the film is that no matter what your background or age, there is something that transcends those differences: the search for truth.
The first and hopefully not the last classic noir I'll see. Previously, I'd only seen neo-noir films, and oldest of them was Chinatown. Now having seen the film that started it all, I can see how the genre has progressed and evolved over the years. However, the basics remain the same: a main protagonist trying to solve a crime or mystery, mainly set in one location, and mostly at night. In modern films the detective element remains but not the rest, in most cases.
One obvious difference when you compare The Maltese Falcon to Chinatown for instance, is the way society has changed. In the latter the detective has a shaky relationship with the police, but they maintain respect and don't cross the line - and in the end the police help him apprehend the suspect - a happy ending for all. In the latter, the police are not only corrupt to the core, but much of everything else is as well - the frustration over which is voiced in the final quote of the film "Forget it, Jake, it's Chinatown".
Differences aside, both eras have produced great films, and The Maltese Falcon is one of the best ever. For a film of it's age the complexity of the plot surprised me, the constant twists and turns in the mystery had my full concentration throughout. Bogart and Astor's screen chemistry was immense. It's seemed she has him wrapped around her little finger for most of the film, even though she was the suspect in the murder of is partner - defiantly one of the most devious and duplicitous femme fatale characters ever. One thing made me giggle were the colorful characters, especially Joel Cairo - a weird little man with an even weirder voice. And of course the 400 pound kingpin behind the whole conspiracy, Kasper 'Gutman'. That is after all, where the strength of such films lies - in the characters. And in this case, they were crafted to perfection. The film oozes style: from the filming, with close-ups and pan zoom shots you wouldn't expect to see, to the cornerstone of all classic noirs, the trench coats and cigarettes. The Maltese Falcon is a cinematic milestone that has whetted my appetite, not only for classic noir, but for films of that era in general.
