We’ve reached the point in the year where it’s safe to start legitimately putting together a rough outline for your top 10 films of the year. Your number one might be displaced come December, or a handful of others might infiltrate the rest of the list; but it’s likely that those you’ve already decided are your favourites, will still be there or thereabouts by the time we compile our End of Year Awards. Continue reading Top 5 Films of 2017 (So Far)
They call it Baby Driver, and once upon a pair of wheels, Edgar Wright hit the road and was gone, zooming a full two chevrons ahead of most other action-comedies you’re likely to see this year. Read on to see what Owen Hughes thought of this toe-tapping caper.
A step-up from Divergent, if nothing else, Insurgent still isn’t compelling or really any good.
by Callum Petch (Twitter: @CallumPetch)
I can remember nothing about Divergent. I remember that it was terrible and boring, and that a character in it voluntarily calls himself “Four” which makes any scene in which somebody calls out to him resemble that of an overly emotional balloted deli counter, but I don’t remember any specifics about the film. I couldn’t tell you any character names besides Tris and Four – and, look, I’m sorry, I really did try taking his name seriously this time, but I just can’t, I can’t – I couldn’t tell you any plot points, I couldn’t tell you any personality traits of any of the characters, I couldn’t tell you anything that happened in the finale that, direct quote from my review, “is practically the film ticking off the last free spots on its [genre] bingo card in quick succession”. Nothing.
That, I think, might be the biggest problem with Divergent. It’s a bad boring movie, but it is so utterly blandly forgettable that I cannot remember a single damn thing about it besides its bizarrely strong cast and the feeling of having had my time wasted. It didn’t even have the decency to be interestingly or entertainingly bad, with the exception of the ridiculous and mostly inexplicable nature of the Faction system that its world is based around, because it was too busy blandly cribbing from every single successful, and even some of the non-successful, Young Adult franchise ever in the hopes that money will magically fall from the sky and into the studio and filmmakers’ laps. Unfortunately for all, it did (sorta) and so now here’s Insurgent, soon to be followed by Allegiant, Parts 1 & 2 because, hey, why not also steal the “unnecessarily split your last book into two separate films for twice the cash money” part too, eh?
Actually, I’m being unnecessarily mean. If nothing else, Insurgent is a far better movie than Divergent ever was. Where that movie plodded and dragged onwards with no end in sight, Insurgent moves with some semblance of a pace and clearly builds to a logical end game that doesn’t feel like it takes multiple goddamn days to reach. The scope expands – which stretches the already thin narrative credibility to beyond breaking point – which managed to keep me somewhat engaged, even whilst the film mostly just loops back on itself constantly, and with the exceptions of Kate Winslet – who was already checked out in the first film and who is acted off the screen by Ansel Elgort in a sentence I never thought I would ever type – and Shailene Woodley – whose patience for this series visibly drains the further into the film we get – the cast is still trying their damndest to make the crap they’re given work.
I mean, it’s still not a good film, I cannot make that more abundantly clear, but it’s not offensively boring, this time. You know when you’re watching something on TV and you’re not bored but you’re also not completely engaged? Like, you don’t connect emotionally in the slightest with what’s going on and you’re really not bothered about what happens, but you also have absolutely no urge to change the channel or check your phone excessively or what have you? That’s the level that Insurgent is operating on, which is at least a step up from Divergent’s mind-numbing boringness, even though it’s got so little going on and is spread so narratively thin that it’s basically the final third of Divergent that was withheld because DOLLA DOLLA BILLS, Y’ALL!!
The big problem, the thing that continues to kill this series the further along it goes because it becomes more and more apparent, with its refusal to even attempt fixing it feeling even more like a deliberate act of pure laziness, is that Insurgent still has no characters. None of its cast have any definable personalities, nobody goes on any real arc, and most beings (which is the best way that I can describe these lumps of mould) have no consistency at all. Characters hot-foot between allegiances as the plot demands with no adequate explanation, many characters are excessively angsty for no particular reason, and the finale of the film occurs as if Tris is being told off-camera in-universe that she needs to do something real stupid because otherwise the film won’t have an ending.
It’s all best encompassed by Tris herself, our nominal protagonist, who is less a character and more a blank slate who has a whole bunch of emotional problems that the story’s target audience might have thrown onto her. Unlike, say, Katniss Everdeen, Tris’ near-total lack of agency, with the exception of maybe two instances late on in the film, has no narrative or thematic reason other than lazy-ass storytelling, that only serves to call attention to the fact that I have no idea what she wants or who she is as a person outside of the plot pushing her forward. I have spent two films and nearly 4 and a half hours in her company and I still have absolutely no idea what makes her tick or what makes her so special – the film’s constant repetition of “She is the one! The special one!” feels more and more like attempted indoctrination the further and further on it goes.
She is a cipher, nothing more. This is especially problematic as the final third of the film, which is where Insurgent’s big and incredibly cheap-looking CG action sequences reside, is all about her working through her emotional baggage, her insecurities and fears. Not one moment of it resonates, though, because it’s all artificial, conflict thrown onto a character without any true grounding through prior character work or actions. Tris has survivor’s guilt from the last film but it only manifests when the specific sequence of film calls for it, compared to Katniss’ survivor’s guilt which informs her entire character, ditto her desire to not be Divergent and “special” which literally only comes up in one extremely ham-fisted sequence during the film’s first climax before being unceremoniously punted off-screen.
When a character does manage to make an impression, it’s either down to themselves being the equivalent of Saturday morning cartoon villains – Miles Teller, who is better than Hollywood, has a noticeable blast indulging his inner-Draco Malfoy, whilst Sam Worthington Jai Courtney is well-cast as an entertainingly smug prick that the film shuffles off Stage Left way too early – or the actors and actresses just happening to be actors and actresses who have inexplicably decided that this is where they want to pick up their paycheques for a year or two – notable newcomers this time are Daniel Dae Kim as the leader of Candour, Naomi Watts as the leader of the Factionless and also Four’s long-thought dead mother (because OF COURSE), and Octavia Spencer who is the leader of Amity and is third-billed despite being on-screen for about 428 seconds max. Otherwise, it’s just people-shaped husks doing stuff that’s apparently important but that I never once truly cared about.
Incidentally, if you’re coming to Insurgent in search of more of that sweet insipid stupidity that powered Divergent, then you will get more than your money’s worth by the finale. It’s the kind of finale that purports to explain things, specifically why The City is ran in the idiotic faction system and why the Divergents are such a big deal, but doesn’t actually explain anything, instead offering the illusion that answers and explanations are being given whilst actually skirting around everything in favour of a separate reveal that is unbelievably stupid.
It also poses the exact opposite problem of Divergent’s ending: where that left more loose ends than a police corruption investigation headed by a corrupt cop, this one leaves no loose ends. This is An Ending, in the most definite sense one can manage, where everything is tied up and there is really nothing else to do. The final shot of the film even does what should have been done in the finale of the first film, for crying out loud! Like, I do not know where Allegiant could go for barely 2 minutes, let alone two 2 hour films! I also can’t really say I’m excited by this prospect either cos, well, I really don’t care about any of these non-entities masquerading as characters that I’m supposedly supposed to give a crap about. So, all we’re really going to be doing is coming back to line Summit Entertainment’s pockets with even more cashola.
Again, I don’t strongly dislike Insurgent. It’s OK. In its best moments, I could sit and pretend like I was watching a better Young Adult adaptation or sci-fi film – Teller’s Malfoy impression calling to mind Harry Potter, Tris’ occasional extremely unconvincing (can we launch a Kickstarter to rescue a genuinely miserable-looking Shailene Woodley from this franchise, please) rage against the machine reminding me that Mockingjay, Part 2 is out in just 8 too-long months, the simulations being a bargain-basement Matrix – than this Frankenstein’s Monster of a series, and shaving off 20 minutes and having a clear end goal does wonders for the film’s pacing. However, the plotting is still a mess, the world is still stupid, and there are still no characters, which makes being emotionally invested in anything that goes on a completely fruitless endeavour.
It’s a baby step forward and nothing more, is what I’m getting at. Making the presentation less drearily dull without actually fixing the underlying problems that caused that symptom. The equivalent of putting a child’s Band-Aid over a gaping shotgun wound. The Divergent Series still has given no adequate reason as to why it should exist, other than to give some studio execs, a seemingly creatively-bankrupt novelist, and otherwise talented actors a nice large steady paycheque for four-or-so years, and Insurgent gives no evidence of that changing any time soon.
But, hey, I wasn’t bored stiff this time. That’s progress, I guess?
People apparently still make films like Men, Women & Children. This is disconcerting.
by Callum Petch (Twitter: @CallumPetch)
Congratulations! You have just directed and co-written one of the absolute worst and most reprehensible pieces of shit I have bared witness to in all of 2014! I can imagine that you approached the task of directing and co-writing Men, Women & Children – based on a 2011 novel by Chad Kultgen – with some trepidation. I mean, after all, how could you possibly bottom out harder than you did when you wrote and directed Labor Day – a relentless schmaltzy bucket of unicorn piss where Stockholm Syndrome is supposedly the most romantic thing in the world? Yet you did not let that high bar hit your determination, and you managed to surpass it in just pure, Stone Age, out-of-touch backwardness with flying colours! Well done! Gold star!
I mean, it’s 2014 and you made a film all about how technology is The Devil! I thought that we had outgrown that kind of shit by 2003! One of the characters in your film blames 9/11 for the rise of mobile phones and the Internet! I mean, that takes real conscious effort! That’s not the kind of sentence one tosses off without thinking about. That takes real, honest effort; the kind where the person who writes it down sits back and reflects upon it and at no point goes, “No, wait, hang on a minute, that’s f*cking stupid and borderline offensive.” And for a scene like that to perfectly encapsulate proceedings as a whole requires that kind of real, honest effort to sustain itself through two full hours. So I applaud your commitment, Mr. Reitman!
I especially admire just how far you push your pretentious “Oh, look at me, I have something to say that nobody has ever thought of or expressed before!” sentiments by framing the film with frequent cutbacks to the NASA space probe Voyager, whilst an absolutely wasted and bored-as-hell Emma Thompson drones on in the background about everything and nothing at once. Like, the message that we are all tiny insignificant specks fretting over nothing and wasting our lives away with technology instead of putting our minds together and attempting to improve humanity’s future by building technology? Sheer genius! I’m also certain that the fact that the rest of the film is so vehemently anti-technology and anti-Internet – because of how it is RUINING SOCIAL INTERACTIONS – didn’t pass you by and you, therefore, chose to be so blatantly hypocritical because that’s just how committed you were to making an utterly dreadful piece of crap!
Anyways, sorry, your main message from Men, Women & Children: the Internet and mobile phones and the kids today with their texting and their Instagramming and their vidjagames and their wotsits and howdiddos are ruining everybody’s relationships forever. Very interesting. Original, too! Not ideas-wise, I mean, but in sheer bloody commitment and bald-faced moralising about it all. I mean, even Transcendence wasn’t this committed to its moralising beliefs, and that was a film that believed that women should stay away from science because their emotions ruin everything! You, Jason Reitman, could have used this topic for a genuinely balanced and interesting look at how technology has affected our lives and day-to-day relationships. But, hey, why do that when we can coat proceedings in endless dour humourless “guys, I have just had this huge brainwave” serious tone, strip out any trace of another side to this argument, and just speechify and moralise for two straight hours?
After all, did you hear that people use the Internet and text messaging and the like to bully people and send death threats? And that there are places and images on the Internet that promote anorexic levels of thinness, which can really hurt a young woman’s self-esteem? And we can’t forget about those darn videogames that encourage long-form play! Oh, and how about how the Internet allows teenagers to post revealing pictures of themselves online despite not being of age? These are all things that happen – they’re not the only things that happen on the Internet, but why let that little fact get in the way of some scaremongering, eh? – and you rightly chose to present them as if you and your co-writer, Secretary’s Erin Cressida Wilson, were the very first people to have ever discovered them and your viewers are Amish farmers frozen in the 1950s who have just been thawed! Really adds to the stupidly moralistic feel.
Oh, and porn! Let’s not forget about porn! Porn warps one’s mind and makes them incapable of experiencing real intimacy because their mind has been irreparably twisted by the uncouth fantasies and desires that porn does to a young man’s mind! I must also applaud your distributor, Paramount, for choosing to release Men, Women & Children just 4 days after British government passed a number of laws banning certain acts in pornography, by the by. Truly inspired timing! I mean, what would have come off as a preachy Puritan parent beforehand now gets to come off as morally righteous propaganda that our idiot politicians would likely applaud and back as proof of their decision!
Besides, as we all know, pornography is The Absolute Devil and the Internet doubles that devilry by making it easier than ever to get a hold of it. Plus, now there’s no fun in it! After all, back in your day, Mr. Reitman, finding pornography was a rite of passage! One passed down from generation to generation as young sons would stumble upon their father’s magazine collection and continue the cycle. Excellent work putting that sentiment into your script and having an unreally bored Emma Thompson read it with no trace of sarcasm or irony to really seal that Crotchety Old Man stance, by the by. This whole thread is like you watched Don Jon and set out to make a film that does the exact opposite of that film’s nuanced take on Porn Addiction; I admire that commitment.
Anyways: relationships! What is up with those, amiright? Mr. Reitman, I must say that I find your approach to the various aspects of relationships depicted in this film to be wonderfully misguided. I mean, it takes brass balls to make a two hour feature whose primary message reads “These relationships would be considerably less f*cked if the Internet weren’t around to facilitate these darkest desires!” After all, Judy Greer’s pushy exploitative stage mom would never have pushed her daughter, Olivia Crocicchia, into being such a selfish shitty human being if the Internet didn’t literally allow her to exploit her daughter, and Olivia wouldn’t have become such a shitty human being if she didn’t measure her life by her follower count – because teenagers had never worried about popularity until these convenient number totals came along!
Meanwhile, Adam Sandler and Rosemarie DeWitt – married parents who no longer feel any desire for one another – would never have started having affairs on one another if it weren’t for the Internet! After all, the Internet makes it too darn easy; there are literally websites set up for the sole purpose of meeting people to have affairs with! And their teenage son would have been such a happy and normal boy if it weren’t for that blasted porn warping his brain. Elena Kampouris, elsewhere, wouldn’t be having body image issues if that damn Internet wasn’t there pressuring her with constant reinforcement! And look at what the Internet has done to Jennifer Garner! It’s made her so paranoid about her daughter that she relentlessly stalks her entire Internet and mobile phone presence because THAT GODDAMN INTERNET RUINING EVERYTHING!
An actually good film would have looked at how the Internet affects such situations whilst still acknowledging that these are things that would happen anyway. But, Mr. Reitman, you realised that such a road would be dreadfully boring and that increasing bewilderment over the realisation that Men, Women & Children sincerely believes that these would not be problems if it weren’t for THAT MOTHERFRAKKIN’ INTERNET is a much better choice! I was kinda hoping you’d go the whole hog and claim that Major League Baseball was controlling the world via satellites, but I guess you wanted to reign back and settle on “crazy homeless man with tinfoil hats” as your default setting. Understandable.
I particularly enjoyed the scene, Mr. Reitman, in which you had Dean Norris discover the Guild Wars that Ansel Elgort is into. The way that he reacts to a keyboard input equalling a character movement in the game like a caveman does fire or a cat does its shadow? Would have been utterly inadvertently hysterical if you hadn’t played it – much like you play everything else in this film – with this dreary, humourless tone that accurately reflects the guy at a party who thinks he’s all smart to politics and life and stuff but then he opens his mouth and you realise he’s just a f*cking idiot. After all, we wouldn’t want this film to risk crossing over into “So Bad, It’s Good” territory, do we? That would defeat the purpose of this whole entire exercise!
And the cast that you assembled for this thing! Ansel Elgort – turning in a performance that is less “depressed teen” and more “sleepwalking actor” – Dean Norris – who looks incredibly hopelessly lost with his material – Jennifer Garner – turning in a performance that somehow makes her obnoxiously awful character (who the film ultimately ends up proving right a lot due to pretty much nobody being allowed to end this film happy; nice touch) even more unbearable – the disembodied voice of Emma Thompson – whose every word practically screams “can I take my paycheque now?” – Dennis Haysbert and J. K. Simmons – who both get absolutely nothing to do – the wonderful Judy Greer – committed but saddled with atrocious material – Adam Sandler’s once-every-half-decade dramatic role – wasted by getting nothing to do – and a cameo by Phil LaMarr. It is like you were going out of your way to waste actors and actresses I like! Bravo!
You know something, Jason Reitman? I got you all wrong. I thought I had pegged you for one of the new great filmmakers. Thank You For Smoking, Juno, Up In The Air, Young Adult… That’s a resume that seemingly indicates a filmmaker of great skill, a storyteller who knows exactly how to pitch each scene without it coming across as either a thuddingly obnoxious morality lecture or having a thoroughly misguided moral compass. But 2014 has seemingly proven me wrong. Apparently you just want to make disgustingly reprehensible movies with no self-awareness of how incredibly shitty or out-of-touch the finished products come off as.
Well I salute your vision, Mr. Jason Reitman! That was a really nice touch, too, pretending to build up an actual career before torching it near-totally in the space of 12 months in order to make me feel betrayed that a director such as yourself would voluntarily flush that talent, spark and drive down the toilet. You absolutely don’t need to take a few years off, reflect long and hard on your last two films, realise exactly where and why everything went wrong, re-hone your skills and come back revitalised and ready to make great movies again! I mean, why should you? Men, Women & Children is your magnum opus: a putrid, regressive, out-of-touch, overly preachy, one-sided, humourless slog of a movie. The kind that can only come about through sheer determination to make a film that offended and bewildered me as much as is humanly possible.
Keep up the utterly dreadful work, mate!