Hanna, the new film from director Joe Wright, is a visually stunning piece of film making, in which a talented cast of current and rising stars play out a truly twisted fairy tale. Though the movie does lose itself in its own rabbit hole towards the end, the wacked-out, creative jolt that comes before makes the movie totally worth the price of admission.
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Joe Wright, director of the vastly under appreciated Atonement, presents the story of Hanna, a young girl who is raised in the woods by her father to kill the woman who killed her mother. Tangled this is not. But Wright has assembled a cast that understands their role in this upside down wonderland. Hanna is played to perfection by Saoirse Ronan. The young girl is a completely believable mix of deadly precision and youthful wonderment. Again, Ronan proves that she is a formidable talent. As well, the consistently under-utilized Eric Banna employs a great combination of heart and bravado, in playing the father that has protected Hanna from the outside world for so long. Of course, no fairy tale would be complete without an evil witch and her grotesque minions. Cate Blanchett steps into the evil stepmother role with a cold-hearted, southern-tinged panache that is devilishly good. At the same time, Tom Hollander delivers an engagingly maniacal performance, as the head henchman Issacs. Hollander manages to steal every scene he is in, simultaneously repulsing and attracting the viewer. The rest of the cast is quite engaging, from the young girl (Jessica Barden) who plays Hanna's only friend, to the magical elf-esque character created by Martin Wuttke, the actors all seem to be synced into Wright's odd wavelength.
Wright himself is a force to be reckoned with behind the camera. The first three quarters of the film seem as though every shot and every moment have been meticulously imagined by the director. This attention to detail and adherence to tone result in some of the most awe-inspiring cinematography in recent memory (James Cameron eat your heart out). Of course this occasionally means that proceedings seems overly mannered. That said, there are countless sequences in which the audience sits flabbergasted simply trying to take in the visual showcase that Mr. Wright has concocted. This ocular feast is complimented greatly by the Chemical Brother's pitch perfect score score. Though largely techno-based, the score adds genuine intensity to proceedings, the pounding bass and synthetic textures juxtaposing nicely with eerie silences. However, Wright's Hanna is far from flawless. Towards the middle of the film, the pacing seems to fall behind, losing focus on the events at hand. This is quickly rectified, but the conclusion of the film is simply lacking. Where the earlier proceedings seemed to adhere to some sort of absurd logic, the final act just happens. Characters motivations become blurred and their decision making seems weak at best. It's a shame because if Wright and company had nailed the ending, providing some sort of powerful statement, they would have created a new age action classic. Still, for those willing to accept it's clear imperfections Hanna provides a unique film going experience.
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Taking all of these factors together the viewer is left with a movie that is equal parts Grimm's fairy tale, Jason Bourne, and Stanely Kubrick. An action movie with foreign film sensibilities. A coming of age story in the world of assassins. A techno infused tale of innocence lost. It's an engagingly weird film, that is almost certainly destined for cult classic status in the coming years. Hanna, is not for everybody, but if you enjoy movies that are a little different, a little off, and a little twisted then I say go for it. Everyone else, you've been warned.
Source Code, the recently released sci-fi thriller from Moon director Duncan Jones, is built around the premise that one man can essentially go back in time to try find the perpetrator of a deadly terrorist attack. Jake Gyllenhaal's hero has eight minutes at a time to accomplish his mission. If only the last three minutes of the movie didn't spoil the whole affair.
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Science fiction films are generally built around the fantastic and the improbable, occupying the grey area between modern scientific possibilities and glorified magic. Source Code is no different. The movie takes place in a reality in which military technology allows individuals with particular medical traits to relive past events through other people's memories. This technology, the titular "Source Code," is what Gyllenhaal's Colter Stevens uses to continually relive eight minutes before a horrific attack on a Chicago bound train, in order to discern who committed the crime. In actuality, the movie plays out like an action packed version of GroundhogDay, but Duncan Jones, along with his talented cast, make sure that the journey is both visually stunning and (somewhat surprisingly) emotionally grounded. Jake Gyllenhaal, as the movie's protagonist, is excellent, providing just the right mixture of confusion and charisma to carry such a potentially ridiculous idea. He also gets some great help from his supporting cast. Michele Monghan's Christina is an affable romantic foil to Stevens, while Vera Farmiga brings a motherly depth to the role of Steven's military handler. Even Jeffery Wright, (SPOLER ALERT) is able to make his cliched semi-villain rise slightly above convention by playing him with a simmering intensity. Though the cast does a commendable job much credit for this film's success rests in director Duncan Jones' ability to keep the action moving while continually the audience interested through twists and reveals. One can easily complain the Jones' approach to the film grows a little repetitive, especially since we see basically the same shot every time we enter the source code. However, any short comings in this stylistic choice are easily forgiven in light of some truly inventive moments behind the camera. Jones' seems to have strong grasp of how to employ is CGI trickery, and as a result he consistently provides some great visual sequences for audiences to enjoy. These moments are heightened even further by Chris Bacon's score which is manages to seem retro and modern at the same time. Overall, the film maintains a tone somewhere between the dark paranoia of last year's Inception and the clear cut romanticism of this year's The Adjustment Bureau. Well, until the end. It's not clear who to blame for this total failure of a conclusion. It seems to me that the movie was built to end a few moments earlier than it actually does. Jones' provides an excellent final shot to end the action, but suddenly the film chooses to continue on. Sure enough the final minutes almost manage to sour the entire experience. Almost. As it stands, Source Code is a respectable entry into the sci-fi action genre, that I imagine most people will enjoy. Still, with a stronger hand in the editing suite this could have been something more.
Grade: B
Trailer
If you've seen the movie and would like to read more on the debate over the ending, Cinematical has a great article for your consideration.
Paul, the new comedy movie staring the always lovable duo of Simon Pegg and Nick Frost, is filled with non-stop sci-fi references that are sure to make any fanboy feel like Luke Skywalker inside Han's Tauntaun, nice and warm. Sadly, the frequent (and occasionally hilarious) pandering to nerds of all affiliations, is not enough to save this movie from a striking lack of creativity.
The picture, directed by Greg Mottola (of Superbad fame) and written by Frost and Pegg, suffers greatly from a lack of coherent vision. It simply refuses to settle into a consistent tone, jumping wildly, haphazardly, and rarely successfully between being a loving homage to classic science fiction flicks and a poorly constructed raunchy road trip. The set-up is decent enough. Two British, goodhearted, comic book loving man-boys arrive in the United States in order to visit key sites of alien encounters and along the way, they bump into a real life alien of their own. Frost and Pegg, clearly playing geeked out versions of themselves, bring a congenial air to the proceedings. But Seth Rogen, voicing the CGI generated Paul, seems sorely out of place. Rogen's (now somewhat tired) brand of foul mouthed smugness seems heavy against both the lightness of his human companions and the animation of the extra terrestrial. Of course, the comedic shortcomings of this flick do not rest solely on Rogen's voice over work. The script itself is often lazy, taking easy, unfunny, and somewhat offensive pop shots at tired American cliches, such as but not limited to, rednecks, Christians, and anyone living in or around a trailer. Adding insult to injury, the movie's running gags are often only mildly amusing, growing tiresome as the film progresses. Pegg and Frost have proven that they are more creative than run of the mill red state caricatures and poorly conceived breast humor.
Possibly the best thing to come from the Paul set.
The cast supporting the main trio is a mixed bag. Jason Bateman is pitch perfect as Agent Zoil, the main government official tracking down Paul. Batman hits line after line, using his hilarious deadpan timing. Kristin Wiig on the other hand is barely able to bring life out of her character. Though she seems to be genuinely trying, her SNL skill set is unable to overcome such a weakly written love interest. Bill Hader and Joe Truglio, do a passable job as bumbling operatives stumbling into the conspiracy, but rarely do the two generate anything above chuckles. Truth be told, the majority of laughs in this film come from the barrage of send-ups to beloved sci-fi classics. The more you know and or love Star Wars, Star Trek, Close Encounters of The Third Kind, E.T., Alien, Predator, The X-files, or any other alien production with a cult following, the more likely you are to laugh. Still, simply referencing these properties is not enough. As Shaun of The Dead and Hot Fuzz (both hilarious Frost/Pegg collaborations) display, great genre spoofs must rise above name dropping and fully commit to the style they are emulating. In the end, Paul fails because Mottola refuses to go all in with the old school sci-fi vibe that the movie flirts with. Rather than attempting to be innovative, or at least trying to comment on the genre, Mottola chooses to return to his safe zone of crude sarcasm. The result is Paul, a movie that leaves the audience with a few laughs and the distinct feeling that all parties involved could have done so much better.
Ed Helms is a likable guy. His wonderful comedic turns in The Office and The Hangover aptly prove that the man can generate big laughs. Walking into Cedar Rapids I was excited to finally see Helms get a chance to take the lead. Walking out I was dissappointed at how badly the script and direction squandered his talent.
via radioplanet.tv
The plot of Cedar Rapids centers around Tim Lippe (Helms) who must travel to Cedar Rapids to represent his local insurance firm at a regional insurance convention. In doing so he leaves behind his mundane life, and his (much older) girlfriend, played rather stiffly by Signourney Weaver, for a chance to make his boss proud. When Tim arrives at the the hotel where the gathering is taking place he eventually makes friends with a small band of other insurance agents who show Tim how to have a good time and from there the comedy ensues. Or at least it's supposed to. That's the problem with Cedar Rapids. As a viewer you keep waiting and waiting for the real comedy to start, when in reality, it never comes. It's like getting an endless supply of chips or bread at a restaurant but never eating the meal you ordered. Unsatisfying.
Helms and Co. do a fine job trying to generate laughs where they can (John C. Reilly is especially good) but the script doesn't give them that much to work with. Even the enjoyable chemistry between Tim and Joan (played to perfection by Anne Heche) gets stifled by the proceedings. Director Miguel Arteta (who also directed the barely ok Youth In Revolt) and writer Phil Johnston have likable characters and a seemingly engaging premise, but they drop the ball. The movie can't decide whether it wants to be an all out crude comedy or an "quirky" indie flick. Unable, to develop a consistent tone the film fails on both counts. The movie has a few moments here and there that will make you chuckle but overall one can't help but feel like Arteta missed a golden opportunity with such a talented cast. Maybe next time Mr. Helms will get the movie his talents warrant.
With a title like Monsters one would be forgiven for expecting writer/director Gareth Edwards' feature film to be an over the top ode to the classic creature flick of yesteryear. Oh, how wrong one would be.
Instead, Edwards' and company have delivered something far greater, a science fiction film that dares to take the action slowly. Set in modern times, the film takes place in an alternate universe in which giant extraterrestrial life forms have inhabited Central America for years. Since humanity has been unable to rid the region of these beings, the local governments have created an "infected zone", spreading from Costa Rica to a giant wall surrounding the United States, which is shut down from human travel every year while the creatures mate. The action of the film is generated by Andrew Kaulder, a photojournalist who must help get his bosses' adult daughter safely to the United States before she is stuck in the infected area. At first, the characters seem somewhat stiff and unbelievable but as their relationship of necessity advances, the actors settle into an enjoyable groove, and actually generate some excellent chemistry. This relationship is enhanced greatly by Edwards pronounced understanding of tone and rhythm. Rather than continuously bashing our heads in with perfunctory bedlam and noise, Edwards taunts the audience with it's alien creatures. By doing so, the movie allows the viewer to become attached to the two main protagonists while at the same time building eerie tension. In this way, when the monsters do appear it seems exciting and horrifying all at once. It should be noted that Edwards, who did all of the special effects work himself, doesn't not fall into the trap of overusing CGI, but instead chooses to use this digital wizardry to create a natural and realistic visual portrait. As a cautionary note, some viewers may be frustrated by the film's ending (I thought it was fantastic) but even still I believe the merits of the film outweigh any ill-spirit generated by the conclusion. Overall the film is an interesting mix of Jurassic Park, District Nine, and Before Sunset, that results in a memorable indie sci-fi journey. Thankfully, this is one picture where the human spirit is not overshadowed by the titular monsters.
Grade: B+
If you're interested in the film already, then skip the trailer, it gives away little too much away for my taste, but if you need to see more, or just don't mind seeing things ahead of time then check the video below.
Within this blog the majority of topics discussed deal with the creative arts. In my mind books, movies, music, and all of the arts are an essential element of the human experience, providing both release and reprieve from the mundane aspects of life which the current corporate mindset generates in the individual. Sadly, one need look no further than the multiplex (or the theme park that Broadway has become) to realize that the creativity which drives such important expression continues to run in shorter and shorter supply. The following video is of a brief speech given by Sir Ken Robinson on the role of educators in fostering the creative process. For anyone who has even the slightest passion for the arts, or finds distinct value in the exercise of creativity, this video should not be missed!
I like to think that the medium of film serves many functions. It can entertain, inform, and transport a viewer like few of the creative arts. George Nolfi's The Adjustment Bureau serves as a reminder that movies don't always have to be dark and ominous in order to be exciting. I found Nolfi's picture, starring Matt Damon and Emily Blunt, to be a fantastic throwback. A motion picture that encourages the viewer to enjoy a romantic adventure that is free of the cynicism and grittiness that seem to be prerequisites for modern film culture. I loved every minute of it. In the interest of full disclosure, I can already sense that many people will not find this film nearly as enjoyable as I have. To some extent, this response is fair. Unlike the advertisements, The Adjustment Bureau, is not a thriller in the vein of Christopher Nolan's Inception. Instead, the audience is treated to a classic romance, similar in tone to classic Jimmy Stewart films, but with an element of science fiction and fantasy. If you are not willing to accept the fantastic, the supernatural, and the unbelievable then this film is certainly not for you. Furthermore, the ending of the film is decidedly rushed, not quite fitting the journey that we've taken with the two protagonists. But by that point I had been delighted too much by the characters and the whimsical tone of the film to even care.
Speaking of the main characters, Damon and Blunt are fantastic together. The chemistry that these two actors bring to the screen is palpable and truly exciting to watch. Even when the film threatens to lose the viewer in ridiculousness the two leads, particularly Matt Damon, are there to keep the events grounded in humanity. The plot itself is straight forward and no one is going to be surprised by the "twists" (if you can even call them that), but the true magic of the film comes not from trying to figure out whats going to happen in the end, but instead just letting the movie sweep you up in the adventure. In this sense, the film is reminiscent of Wanted, in that it is able to rise above the absurdity of its premise and generate a fun ride for those that are willing to take the plunge. I have to say that first-time director George Nolfi does a superb job at weaving romance and suspense, while maintaing a consistent tone. It was refreshing to be able to actually watch the action on the screen instead of being dazed and confused by rapid editing and loud explosions. I could gush over this film all day, but instead I'll just say that this is one of my favorite films of 2011. If you have a taste for fantasy, classic adventure, or character based romance than do not hesitate to go see The Adjustment Bureau. If you're like me, you'll leave the theatre with a grin on your face, happy to be reminded that the movies can still take you through a door to another world.
