Gravity

• Released Internationally on 03/10/13
• Released in Malta by KRS on 08/11/13

Review (07/11/13)

3-word review: Go watch it.

Some films are beautiful, whilst others sacrifice the sweeping vistas and slow shots to deliver a fast-paced thriller instead. Gravity manages to do both, resulting in a film that manages to be gripping from start to finish, whilst still finding time to be a gorgeous feast for the senses.  

Simple, always simple

The first beautiful thing about this film is its simplicity. Two astronauts - one a seasoned veteran (George Clooney) and one a first-timer (Sandra Bullock), are on a space walk when their mission goes very wrong. Cut off from their usual lines of communication and well-rehearsed procedures, they need to struggle to survive. That’s more or less it. No cliché pre-take off introductions on earth, no flashbacks, no deus ex machina. Just a simple, immersive story that leaves you stunned for an hour and a half.

Great performances

As ground-breaking as the technical wizardry on display is, the film succeeds largely thanks to the wonderful presence of both Clooney and Bullock. Clooney is in familiar territory here, character-wise, as the wise veteran who knows all the tricks, offers a voice of reassurance, and never takes things too seriously. His calming presence is vital to his partner in space, whom Bullock instils with equal doses of insecurity and deep-seated determination.

A visual feast

Nowadays, it’s rare that I catch myself wondering ‘How did they do that?!’ when watching a film. I thought it a handful of times during this one. The sheer logistics of creating these completely convincing spacewalks and zero gravity accidents must have caused many a headache, but the end result makes you glad you have your 3D glasses on and a huge screen in front of your face. One scene in particular, as Bullock’s character enjoys a much-earned moment of freedom in zero gravity, is one of those priceless scenes where everything gels perfectly and makes you catch your breath.

Don’t let go

The film somehow manages to keep the tension and action going for most of its running length without ever getting tedious or tiring. Things keep going wrong, but not once does it feel far-fetched. The audience is toyed with continuously, given fleeting moments of security before they are pulled out from under us. This makes for a powerful human drama, the rise and fall of which is played out on the rate of Bullock’s breathing.

Technical masterpiece

This is an astounding achievement in every regard. The eerie, pulsating music; the visual effects; the spectacular shots of earth; the great use of sound - it all comes with a sheen of excellence and feels so much better and cleaner than anything I can recall in many months. Easily the best film of the year so far, and one of the most accomplished pieces of cinema I can remember experiencing.

 

Trailers:

http://trailers.apple.com/trailers/wb/gravity/

Teaser Trailer

Pain & Gain

• Released Internationally on 24/04/13
• Released in Malta by KRS on 04/09/13

Review (03/09/13)

3-word review: Entertaining Bay display.

The unmistakable Michael Bay

Whether Michael Bay’s films feature asteroids, giant robots or weapons of mass destruction, or even if they do away with all the sci-fi and gadgetry and just focus on present day crime, they are all easily identifiable as larger-than-life Bay spectacles. Not one to go for subtlety, Bay has often divided opinions with his over the top style. Everything must be drenched in sweaty, unforgiving sun, everything must be bursting with colour, and lots of action needs to happen in slow-motion and accompanied by wailing electric guitars. You also need at least one shot encircling the character from below, and one with a massive plane flying directly overhead, if possible. 

But while the end result is often a big hot mess (the Transformers films, especially the two sequels), or not worthy of the subject matter (Pearl Harbour), it does occasionally result in wide-eyed cheesy entertainment that is a joy to watch (The Rock, Armageddon). Those instances, however, where Bay does away with all the extras and stamps his style onto a crime film, are in my humble opinion the instances where his controversial talents are best displayed. Which is why this film works, just as the two Bad Boys films worked. When your subject matter resembles something out of an MTV reality show, what better way to present it than looking like a big budget music video?

“My name is Daniel Lugo, and I believe in fitness.”

Mark Wahlberg (Boogie Nights, The Fighter), stars as the gym-obsessed ex-convict Daniel, who dreams of a life beyond his mundane personal trainer job and realises he can’t obtain that life through strictly legal means. He singles out a wealthy, seemingly helpless client of his (Tony Shalhoub - The Man Who Wasn’t There, Monk) and after getting fired up by a motivational speaker (Ken Jeong - The Hangover trilogy) he decides to go for broke and try to skim every last penny off the unsuspecting Jewish businessman. The trio he assembles for the job include his colleague and fellow fitness-fanatic Adrian (Anthony Mackie - The Hurt Locker) and built-like-a-bus Paul (Dwayne ‘The Rock’ Johnson - Fast & Furious 6). 

Fargo, on steroids

Between the three of them they have enough brawn to intimidate anyone, but not enough brain to pull their ridiculous scheme off. And thus ensues a regular winning formula in literature and cinema - the convoluted scheme which goes impressively wrong, partly due to misfortune, and partly due to sheer stupidity. Fargo remains one of the most nuanced and engrossing examples of this, with A Simple Plan trying to repeat the formula a couple of years later. This is nowhere as subtle or high-brow, but it is very entertaining nonetheless, although admittedly in a similar way to watching disastrous reality TV or other instances where you can shake your head and feel hugely superior to the protagonists. Wahlberg anchors the trio well, with his trademark puzzled expression perfectly suited for the enthusiastic but clueless gang leader he portrays. Dwayne Johnson is the most entertaining, however, managing to shift between highly-string cocaine fiend and his character’s recently discovered happy-clappy religious side. 

This is still a true story

By the time a private detective (the ever-bankable Ed Harris - A Beautiful Mind) is brought in to try and uncover the fraudulent scheme, and by the time our anti-heroes have spent all their money and are itching for a second hit, Bay does well to remind us, during one particularly insane scene, that “this is still a true story”. It takes some convincing, but we are shown the real-life protagonists during the end credits, and the events in the film did in fact happen in the mid-90s. Which is why the film is also a wonderfully cheesy collection of 90s styles and music, which cements the comparison with Bad Boys even further.

In the end

By the time the explosions have died down and everyone has come down from their steroid rage or cocaine high, there isn’t all too much substance to take home, apart from the very obvious moral lesson that crime doesn’t pay and that the elusive ‘American Dream’ needs to be attained through hard, honest work. But who cares? It’s an entertaining two hours, and despite being Michael Bay’s second least expensive film to date, I think it’s one of his best.

Trailers:
http://trailers.apple.com/trailers/paramount/paingain/

Appaloosa

• Released Internationally on 19/09/08
• Released in Malta by KRS on 29/10/08

Preview (01/10/08)

In a nutshell

Set in the late 19^th century, this is a western about two friends who help defend a small town from a threatening rancher, but whose friendship is itself threatened when an attractive widow arrives in town.

Who’s in it?

Ed Harris, who also directed and co-wrote the screenplay, plays Virgin Cole, the older of the two lawmen, while Viggo Mortensen plays his sidekick. Jeremy Irons is the bad guy, and Renée Zellweger is the lass who stirs things up.

Why we’re hyped

Although there’s no doubting his credentials as an actor, this is only Harris’ second outing as a director. He passed the test with flying colours on his first film – the acclaimed artist biopic Pollock, in which he also starred as the troubled painter. Viggo Mortensen is quickly becoming one of the most reliable leading men around, and he was easily one of last year’s most interesting characters when he transformed himself into a Russian mobster for Eastern Promises. The quality of westerns has varied greatly over the past twenty years, but last year saw a mini-revival with two beautiful old-fashioned westerns – 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford. Let’s hope this one follows that trend.

Review (28/10/08)

Wild Wild West

Ed Harris has crafted a memorable western which delivers all the ingredients westerns are famous for. Within minutes of the opening credits, it's clearly evident who the bad guy is - Jeremy Irons need only use his grim stare and his rumbling rich voice to leave us no doubt as to which side he's on. Him and his henchman are immediately up to no good, and before long the good guys come riding into town to save the day. Over the next two hours we have lawmen, saloons, horses, fist-fights, shootouts, and loads of wonderful scenery, and it's all a joy to watch.

Just a Western?

I'm not fond of those who define films simply by their genre. Westerns very often get pigeon-holed as if they're all variations on the same theme, when really the setting is just providing a back-drop for a story, just like a science-fiction film or a romantic comedy. And like any genre, a western with a limp story often ends up as a drag, whilst westerns with a great plot at their core often work wonderfully as a film. This one falls into the latter category. What starts off as a simple good vs. bad challenge soon rides off at a tangent as a feisty love interest strolls into town. Things get complicated, and before long we're being led on a chase across the Mexican desert.

Very Viggo

Despite great turnouts from Harris, Irons and Zellweger, Viggo Mortensen is the one who steals the show. Once again, he inhabits an oddball character with a distinct appearance - this time he has complex facial hair to go with his outfit - and says volumes with just a few words. In last year's Eastern Promises, he was the quiet man in the corner who turned out to be the most reliable man around, and here again he is happy to live in the shadow of his mentor, Cole, but it turns out he could be the only one we can truly depend on. His acting is superb, and his collection of wonderful characters here gets another worthy addition.

Cowboys have feelings too

At points the plot does slow down, as our two peace-keepers discuss the intricacies of the human heart and how to handle the new love interest, but this gives them an added dimension, rather than weaken their tough-guy appearance. They may be confused about women, but they're still the best shots for miles around. The scenes between Mortensen and Harris range from average to wonderful, and the chemistry between them as a partnership provides the only enduring relationship of the film.

In the end

Despite a slightly protracted ending, the film builds to its satisfying conclusion and leaves no frayed ends. Irrespective of the genre, this is a good story which is worth watching, and the characters add substance to an wonderfully-directed film. Even if westerns don't usually float your boat, you should give this one a try.

Trailer:

Gone Baby Gone

 

• Released Internationally on 19/10/07
• Released in Malta by KRS on 25/06/08

 

Preview (15/05/08)

In a nutshell

Ben Affleck’s directorial debut, about two detectives uncovering more than they bargained for when they investigate the disappearance of a four-year-old girl.

Why we’re hyped

This was released last October on the other side of the Atlantic, and it attracted a lot of praise, especially for the acting and for Affleck’s directing. (The release was delayed in certain parts of Europe, especially the UK, due to the uncanny similarities with the real-life missing British four-year-old Madeleine McCann).

Who’s in it?

Affleck’s younger brother Casey (Ocean’s 11, 12 and 13, The Last Kiss) and Michelle Monaghan (Mission: Impossible III) are the two detectives, whilst Morgan Freeman (The Shawshank Redemption, Batman Begins) and Ed Harris (Apollo 13, A Beautiful Mind) add class and experience, whilst Amy Ryan (Capote) delivers a head-turning supporting role.

 

Review (10/06/08)

Heavy drama

I wasn't surprised to discover that the author of the book on which Gone Baby Gone is based also wrote Mystic River, because both films have a bleak, working-class feel about them, and both are very good crime dramas set in the seedier areas of Boston. The plot follows two young but street-wise private investigators who are persuaded to 'augment' the police investigation into the disappearance of a four-year-old girl. As expected, the boys in blue aren't too pleased to see them at first, but eventually they join forces to track the girl down before it's too late. The deeper they dig, the more dirt they uncover, and Casey Affleck's character has to question his own beliefs and what he's willing to sacrifice in order to do what he believes is the right thing.

The good

To elaborate too much on the plot would be a disservice to the film, because Ben Affleck carefully peels back layer after layer of his plot onion, and does so quite brilliantly for a first-time director. The acting is top-notch on all levels, from Morgan Freeman as the police chief all the way down to Amy Ryan as the distraught mother. The real revelation though is Ben's brother, Casey, who after playing a wimp so convincingly in last year's Jesse James, walks the streets here as a confident no-nonsense and often unorthodox investigator.

The bad?

There's not much to complain about here. It's not exactly light summer fare, so don't sit down expecting an easy two hours. But not since Arlington Rd. have I sat during the end credits of a film and questioned so many of those things I previously took for granted.

The ugly

For anyone who followed the excessive media coverage of the McCann case, scenes from this film might be hard to handle since the child actress is eerily alike. However, apart from looks and age, these two missing person cases have little in common. Still, it serves as a shocking reminder that makes the film all the more relevant. There is a lot to discuss in this thought-provoking story, and part of its message is about a reality that is all around us.

 

 

Trailer:

http://www.apple.com/trailers/miramax/gonebabygone/ (High-res QuickTime)