The content of this post is courtesy of @LionsgateUK. Continue reading Origin Wars and the Best Original Sci-fi of 2017
The content of this post is courtesy of @LionsgateUK. Continue reading Origin Wars and the Best Original Sci-fi of 2017
Our Vancouver-based writer, Nicholas Lay (of In Layman’s Terms), recently found himself in the midst of the 2016 Vancouver International Film Festival. Here, he rounds up seven of the more intriguing pictures featured this year…
Drama / Gangster
Director: Chung Mong-hong
Country of Origin: Taiwan
As an avid lover of classic Hong Kong cinema, the news that comedy legend Michael Hui (of the Hui brothers) was starring in Taiwanese director Chung Mong-hong’s new gangster flick, AND that said gangster flick was playing at VIFF, meant it was almost inevitable that Godspeed would be the first ticket I purchased at the festival this year.
A purveyor of satirical, character-driven comedy since the 1980s, Hui’s wise-but-cynical cab driver spins Mong-hong’s winding yarns into dry, droll gold as he and his companion, the wonderfully blank Na Dow, cruise down to southern Taiwan in order for the latter to perform the sort of drug deal we all know is going to go badly wrong.
Godspeed won’t be for everyone, but if you’re in the foreign language market for a violent, darkly humorous, subtle technical achievement (Nagao Nakashima’s ranging cinematography is gorgeous at times), then definitely make a note of this one for later.
Watch the trailer here.
Director: Kevan Funk
Country of Origin: Canada
Without doubt the most depressing film I’ve seen this year (seriously), Kevan Funk’s debut feature, Hello Destroyer, is a bleak, painfully frank examination of the cycle of violence forever present at the heart of Canada’s national pastime.
Flirting with the blurred boundaries of an enforcer – regardless of the level the game is played at – the focus is Tyson Burr, an up-and-coming rookie riding the only talent he has ever been pushed to develop in the hope that, one day, his career may reach the pinnacle that is the NHL. Instead, one overly zealous decision, one single product of the nurturing he has received at the hands of the system; sees him gradually nudged back toward the cold, hard reality of the small town BC life he so desperately wants to escape.
The excruciating, systematically ruthless descent of Tyson as both a hockey player and a human being is ramped up by Funk’s intense style and a haunted, empathy-inspiring turn by Jared Abrahamson.
Trailer yet to be released.
In a Valley of Violence
Director: Ti West
Country of Origin: USA
Those who’ve seen writer/director Ti West’s acclaimed micro-budget horror flick, The House of the Devil, will be familiar with his ability to transform a basic premise, a limited cast, a lead character who spends a large portion of time on their own, and plenty of glorious homage-paying into a workable, enjoyable picture. Finally moving away from horror, West turns his eye to the old school Western.
In a Valley of Violence follows a similar pattern to The House of the Devil, and certainly lives up to its name; as West holds nothing back in this backwater tale of fully justified (trust me, you’ll agree) revenge. Ethan Hawke stars as the wandering gunslinger, while John Travolta makes a random, but welcome appearance as the local Marshal.
There’s nothing all too groundbreaking about the film as a whole, but it looks great and West’s writing – particularly the comedy – is strong, as is the timing provided it by his cast. The modern subtext, deliberate or not, of Hawke’s character’s past and the small town setting – like recent neo-Western, Hell or High Water – is equally as interesting, but, if I’m being honest, the highlight is one hundred percent the quite marvellous canine performance of Hawke’s trusty mutt, Abbie.
Watch the trailer here.
Director: Barry Jenkins
Country of Origin: USA
Riding into town on the crest of the TIFF hype wave, Moonlight became one of the higher profile features at VIFF, due to the elevated levels of chat it enjoyed in advance. A moving journey along the path of one young man’s lifelong struggle as a black homosexual, trying to find his place in a forgotten, poverty-ridden corner of modern America; Moonlight is a highly relevant commentary on the stereotypes and social injustice that still plague a great number of people far more often than the odd flash on the news many of us are privy too.
Writer/director Barry Jenkins visual eye contrasts the striking and peaceful with the deliberately claustrophobic. One could argue he goes a tad overboard with the odd “artsy” sequence here and there, but it’s a minor complaint.
Featuring solid performances from the well arranged ensemble cast, Moonlight is more a conveyance of intriguing, vital subject matter than a “great” film. In these uncertain times, however, it certainly deserves a watch.
Watch the trailer here.
Drama / Comedy
Director: Jim Jarmusch
Country of Origin: USA
Without question the highlight of my VIFF experience this year, Jim Jarmusch’s week-in-the-life of Adam Driver’s bus driving, poetry-composing lead character, Paterson, who lives in the town of Paterson, NJ, is a both a study, and itself a triumph of nuanced creativity, set against the mundane nature of everyday life.
Jarmusch has always been an unconventional filmmaker (in case you’re unaware, one of his films stars Forest Whitaker as a modern day, urban samurai and mafia guardian angel – and it is awesome), and Paterson is no exception to his repertoire. Pulling us in close to his characters’ eccentric normalness with a tight script and beautiful direction, Jarmusch masterfully sets up sequences of tension and relief that are clearly trivial in the grand scheme of things, but genuinely have you on the edge of your seat in the world of Paterson and Co. Moment after moment of sly comedic genius compliments such an approach, with everything from ordinary background objects, to the slightest facial reaction of our lead character playing a part alongside the amusing, dialogue-driven interactions that sustain his various relationships.
Driver, whose career goes from strength to strength, spearheads a top notch cast opposite Goldshifteh Farahani, with further stellar canine involvement (a running theme at VIFF) and a brief, but memorable cameo from Method Man, as Jarmusch revisits the Wu-Tang connection he established years back on Ghost Dog (which, if you’re yet to Google it, is the Forest Whitaker flick mentioned above).
Watch the trailer here.
Under the Shadow
Director: Babak Anvari
Country of Origin: UK / Jordan / Qatar
We often speak of the literal horrors of war, but rarely does the field of cinematic horror find itself in the midst of the battlefield. Iranian writer/director Babak Anvari sets out to change that with his subtext-layered, Under the Shadow; set beneath the harrowing barrage of Iraqi bombs raining down upon Tehran during the Iran-Iraq war.
The standard premise of a mother and daughter haunted in their own home is given a new lease of life by the backdrop of war, as Anvari dances on our nerves with a tightly wound depiction of his characters’ increasingly desperate predicament. The horror is both further emphasised and enhanced due to the depressingly intriguing military, political, and social quandaries faced by our two lead characters throughout.
Aided by standout performances from Narges Rashidi and Avin Manshadi, Anvari has fired the gun on adding an extra layer or two to the usual jump-punctuated screamfest formula.
Watch the trailer here.
Drama / Comedy
Director: Bruce McDonald
Country of Origin: Canada
Balancing out Hello Destroyer’s dark take on small town life north of the border; Weirdos is veteran director Bruce McDonald’s black and white throwback to the folksy, teen-dream Canadian road trips of the mid-70s.
A true coming-of-age tale, Daniel Maclvor’s witty script follows Kit (Dylan Authors) and his girlfriend, Alice (a breakout performance by Julia Sarah Stone), as they seek out his metaphorically long-lost mother (Molly Parker, House of Cards) across the province of Nova Scotia. Rebellious teenagers having their insular, cherry-picked ambitions dashed on a regular basis is hardly anything new, but McDonald’s comforting sense of awkward calm ultimately succeeds in providing the heartwarming sense of hope necessary to bring the picture full circle.
One of the highlights of VIFF 2016, Weirdos is a softly spoken ride that does its best to convince you that, in the end, everything will be all right.
Trailer yet to be released.
Yeehaw, listeners! It’s a darn tootin’ mighty fine show we’ve got for you this week. Hosts Steve ‘the kid’ Norman and Smilin’ Owen Hughes are joined by pardners The Liam With No Surname and Django Brooker for a special westerns triple bill episode.
Their pistols are cocked and ready to fire on each of their favourite three westerns in honour of this week’s big new release, Antoine Fuqua’s The Magnificent Seven, starring Denzel Washington, Chris Pratt, Ethan Hawke and Lee Byung-hun amongst others.
A ‘west’ inspired quiz opened the podcast with the score delicately poised at 2-2 between Owen and Steve, who was just one loss away from watching the abhorrent Killer Bitch. There was also time for a short chat about the furore over the latest images from the Jumanji sequel.
Join us again next week for reviews of Deepwater Horizon and Miss Peregrine’s Home for Peculiar Children.
“I seek righteousness, as we all should. But I’ll take revenge.”
Can you believe it? Just as I say one of the best films of the year is a Western in a time when both modern and classic style westerns are either lacking or simply not a thing anymore, along comes the second one is as many months that isn’t only excellent, but has all those classic hallmarks that made the greats from all those years ago, well.. great.
Now in their third collaboration together (after Training Day and The Equalizer) director Antoine Fuqua and average Joe badass for hire Denzel Washington return to us with a remake of a remake of a remake, The Magnificent Seven.
When landowner and businessman Bartholomew Bogue (Peter Sarsgaard, The Killing) rolls into Rose Creek wanting to take control of the little town, killing a bunch of people and threatening the rest, newly created widow Emma Cullen (Hayley Bennett, The Equalizer) goes in search of someone to help her rescue her town from the merciless industrialist.
As luck would have it, she finds Sam Chisholm (Washington), a lawman who seemingly wants nothing to do with her problem until Bogue’s name come up. Setting out to recruit a few more guys good with guns, Chisholm assembles The Magnificent Seven. Sharpshooter and gambler Josh Farady (Guardians of the Galaxy‘s Chris Pratt) is the first to join and is sent off to grab legendary soldier Goodnight Robicheaux (I will go with Training Day‘s Ethan Hawke) and his sidekick Billy Rocks (Lee Byung-hun, of I Saw The Devil and The Good, The Bad, The Weird fame), while Chisholm goes to find outlaw Vasquez (From Dusk til Dawn‘s Manuel Garcia-Rulfo).
Coming along for the ride and helping to build an army from the small town’s residents are skilled tracker and famous Indian hunter Jack Horne (Daredevil‘s Vincent D’Onofrio) and Comanche Red Harvest (Martin Senmeiser, soon to be seen in the Westworld remake).
But even with this collection of certified badasses, Rose Creek is going to need more than a slight miracle to overcome the land baron and his army of hired guns.
Now, it must be fifteen years since I last saw, well, any iteration of The Magnificent Seven – or Seven Samurai – so I had to go into this latest version of the classic as if I was watching a brand new film and not compare it to any of the others. And as such, I reckon The Magnificent Seven is a damn fine film.
Every member of the cast has their part to play, and does so perfectly. Even as the film quickly becomes the manly-man filled, trope-infused guns and trench coats film you expect it to, every single person feels perfect in their place.
This is a huge thing for me. The announcement of Chris Pratt joining the production previously left me worried for the film. I was concerned that he was being brought in for comic relief and not because he was the right man for the part; but boy was I wrong. In fact, Pratt’s presence in this film, while not entirely straight-faced, is one of the more seriously played roles here. Second only to that of the near silent Native American, most of Farady’s jokes actually fall rather flat, with several of his cast mates enjoying much better one-liners.
And like I said, everyone here is perfect on screen, but one man I reckon needs special mention (and it’s not Mr. Washington, as you may think). While Denzel has been awesome in recent years, he’s often just playing the near invincible ass kicker character that he perfected back in the days of Man on Fire‘s John Creasy. While he’s just as awesome here, in his perfect black getup that even out in the desert never seems to get a spec of dust on it, he’s not the man I’m talking about.
I’m talking about Vincent D’Onofrio; a man I’ve been a fan of for decades (literally) who outshines everyone he’s on the screen with with his wise-cracking, near-psychopathic tracker Jack Horn. This bear of a man, so often overlooked, is easily the best and purest bad ass on that screen. From his introduction to the end credits, he’s a joy to watch.
Antoine Fuqua’s direction is superb. A man who got famous with films like Training Day does a fantastic job of capturing the old west look and feel, giving us that ‘comfortable slippers’ vibe while still managing to feel somewhat fresh.
Action feels fast and frenetic, balanced out with slower moments for story and exposition; the film keeps the pace spot-on and interesting in every frame. The Magnificent Seven‘s two hour and change run-time doesn’t feel long or drawn out. Instead of praying for it to be over, I found myself wanting more. A rarity for this most masculine of action genres.
All in all, The Magnificent Seven feels like a return to those Westerns we all used to love. The ones that Film4 delight in putting on during weekday afternoons. The ones your old man used to watch. It’s a killer cast having a ton of fun working for an excellent director and it shows. This remake of a classic is destined to be a classic, in and of itself in years to come. It is, in a word, magnificent.
by Callum Petch (Twitter: @CallumPetch)
Happy New Year, everybody! Over the last two days, I have shared with you the 10 films that stuck with me the most throughout 2014 for the right reasons. Plaudits were thrown about, praises were slathered, and good times were had. If you missed those articles, you can find them located here and here. Today and tomorrow, though, I share with you the 10 films that stuck with me the most throughout 2014 for the wrong reasons.
I have never actually done a Bottom 10 list before. As mentioned in the first of my Top 10 pieces, prior to this year I had to carefully select what films I went to see, but this year I could toss quality control out of the window and see everything. Therefore, in the name of film criticism, I have seen a lot of total sh*t this past year. However, this is not a list of the absolute worst made films of 2014. Some of them are on here, but that is not what the list is about. It’s too easy and not particularly interesting, especially since many of them are akin to shooting fish in a barrel with a blunderbuss machine gun. I mean, are any of you at all surprised that Pudsey The Dog: The Movie turned out to be horrendous?
No, this list is a Bottom 10 and encompasses the films from 2014 that made me angry. To get on this list, a film had to have left me with a strong negative reaction that did not go away after a short while. These are the films that drew my anger, swallowed me in disappointment, offended my being in some way shape or form, or also represent everything that is wrong with filmmaking and the film industry today. How much do these films deserve to be on this list? Transcendence, Annie, Blended, and 300: Rise Of An Empire missed out on placements.
So, same rules apply here as they did for the Top 10, and same presentation style applies too – today, we count down #10 to #6. If we’re all set, don your bile protection gear, don’t look directly into the films that are listed here, and ONWARDS, AOSHIMA!
There may be spoilers. Proceed with caution.
Dir: Richard Linklater
Star: Ellar Coltraine, Patricia Arquette, Ethan Hawke
Again, this is not a list of the worst films of 2014. I can name you at least 20 or so films that I saw that are worse than Boyhood. No, Boyhood is on this list because, more so than any other film released in 2014, it annoyed me. It confounded me, it irritated me, it baffled me, it enraged me, it majorly disappointed me, and these feelings have remained with me ever since I saw the film because people won’t shut the hell up about the goddamn thing and because we might as well FedEx all awards ever to its undeserving doorstep now to save time and money on postage.
Look, my seething distaste for Boyhood is very much equal parts it not being a very good film, and my own personal feelings and baggage. Boyhood purports to be a look at the coming-of-age of a white, suburban, straight, middle-class male throughout the 2000s but does so in a way and tone that feels like it’s putting down the final word on the matter. That this is how it was for everybody, that it’s making some giant statement about it all, especially since the film keeps throwing out philosophical sound bites and barely tolerable bullsh*t about how “the moment seizes you” and stuff. It looks down from upon high and decrees “THIS IS WHAT BOYHOOD WAS LIKE IN THE 2000s” with absolutely no self-awareness or analysis of what it actually means to be that kind of privileged white, straight, middle-class male, which makes its declarative nature all the more insufferable.
“Oh, but Boyhood is a character piece!” I imagine many are trying to counter with right about now. Problem with that argument is that the film fails at that, too. Mason, Jr. is a non-entity. I spent two hours and forty minutes in his company – watched him go through 12 years of life – and the most I learnt about him is that he possibly has a interest in photography, and that his actor grew up to resemble Ethan Hawke so much that I’m honestly not 100% certain that he’s not just a clone of Ethan Hawke. I don’t know what makes him tick, I don’t know what his aspirations are, I don’t know how he progressed from his six year-old self to his eighteen year-old self. He feels less like a character and more like a blank slate that either you’re supposed to project your own self onto or who is supposed to stand in for every white privileged guy ever.
“But the whole point of the movie is that your adolescence cannot be boiled down to big standout moments! That’s why it skips Mason, Jr.’s first kiss, first job, rambunctious teenager phase, etc.!” OK, so why does the entire first half of the film concern itself with the theme of being too young to truly understand how the world works? Much of the film’s first half dedicates itself to the lives of Mason and Olivia, Mason, Jr. and Samantha’s parents, and the complicated nature of their various relationships, living arrangements and procession of step-parents as viewed through the eyes of children who will never truly understand why these things are happening. That’s why there is this ridiculously cartoonishly delivered sequence where Olivia bolts with the kids away from her alcoholic and abusive new husband. That is a major standout moment of somebody’s life, and its grand theatricality – not helped by Marco Perella swinging for the fences with his playing of that scene – goes against the low-key nature of the rest of the film.
Yet the film drops that theme at about the halfway mark and just ambles about aimlessly for its remaining runtime. It’s maddening to see a film wilfully waste its potential and possible avenues of storytelling and thematic resonance at damn near every opportunity. Patricia Arquette has been getting major praise for her role as Olivia and understandably so, she does great work, which makes it all the more infuriating that, despite being Mason, Jr.’s primary parent and guardian, the film repeatedly side-lines her in favour of even more screen time with Mason, Sr. in a bunch of scenes that eventually reduce themselves to just hitting the same beats over and over again. Olivia gets an outstanding scene near the end where she breaks down as an uncaring Mason, Jr. gets the last of his stuff from her house about the passage of time, and of heavily implied regret for giving her life to him instead of living it for herself. That scene is outstanding, which only makes it all the more infuriating that the film isn’t about her – the one character in the film with an arc, thematic resonance or f*cking something going on.
That’s ultimately what annoys me most about Boyhood, is the fact that it has nothing going on besides its “shot over 12 years” gimmick. It is a film with no central character, no consistent thematic arc, and nothing interesting to say because it actively steers itself away from having anything interesting to say. I get the feeling that Linklater started this project with a real passion and desire, only for that to fade away from him as the years progressed, eventually becoming more of an obligation than anything he was seriously interested in working on – the film gets lazier and lazier, just drifting through its last forty minutes with no drive except for some half-assed pseudo-philosophical rambling (very much like a teenager). Linklater is better than this, he has consistently proven over the last 12 years that he is a better filmmaker than this, and that’s why Boyhood disappoints me so. It’s a pointless, muddled, dreary slog of a film that also touches on something real and honest infrequently enough to make its bungling of everything even more irritating.
Also, its last scene is one of the worst and most aggravating that I have seen all year, and the film managed to make me hate Arcade Fire for a good two hours after I left the cinema.
Dir: Luke Greenfield
Star: Jake Johnson, Damon Wayans, Jr.
Let’s Be Cops is not the worst comedy of 2014 – that honour goes to Sex Tape, since that barely qualifies as a film, let alone a comedy. It is not the most offensive comedy of 2014 – that honour goes to Blended. It is also not the most disappointing comedy of 2014 – A Million Ways To Die In The West – or the most pointless – Horrible Bosses 2 – or the biggest pile of evidence that we should stop allowing British people to make comedies – Mrs. Brown’s Boys D’Movie. What Let’s Be Cops is, and why it is on this list instead of the far more deserving Sex Tape, is the most perfect encapsulation of everything that is currently wrong with the American feature-length comedy movie.
2014 has been a pretty miserable year for out-and-out comedies. Of the many, many, many comedies released these past 12 months, only two were actually any good – Bad Neighbours (which came this close to cracking my Top 20) and 22 Jump Street (which had a very good chance of actually cracking the Top 10 if I had managed to watch it again before list-making time) – the rest were either diverting but pointless, or just plain torture to sit through. I realise that every year has maybe two great straight comedies – a number that’s bumped up to four if you include comedy-dramas or black comedies – and a whole load of tripe surrounding them, but you’ll have to forgive me for being disappointed that an increased number of releases this year led to the same number of hits compared to misses.
The American comedy is currently stale, and Let’s Be Cops is such a grab-bag text of all of its worst impulses that I’m honestly still not sure that it wasn’t intentional – a desire to make a comedy I can point to for all aspiring comedy filmmakers and go “You see that? Don’t do that.” A loose rambling structure that sacrifices these things we call “set-ups” and “punchlines” in favour of dropping talented comedians with decent chemistry into scenarios and praying that they can improv up enough gold to fill out the runtime, direction and scene set-ups that are dull and interchangeable, editing that doesn’t know when to stop a scene, a needlessly stretched out runtime that gets way too close to two hours, genuinely funny material being beaten into the ground or stretched so thin that the entire enterprise feels endless, a casually tossed off sexist attitude towards women, a final third where the jokes are dropped completely because apparently only Phil Lord & Chris Miller know how to make plot funny anymore…
Let’s Be Cops also has the extra dead albatross of being released in the immediate aftermath of the tragic events that occurred in Ferguson, Missouri which have sparked off an additional nationwide conversation about police brutality, racism and militarisation of the police force, adding an extra layer of awkward tastelessness to jokes like our two leads playfully brandishing their loaded guns at each other in a public restaurant. But, honestly, that’s the least of its problems. Let’s Be Cops could have used its premise to explore and ask tough questions about the current state of the police force in 21st century America, but it didn’t have to and it’s not automatically lesser for not doing so – there’s nothing wrong with a silly comedy and at no point did either of the Jump Street movies use their cop-comedy premises for social satire. What is inexcusable, though, is the sheer laziness and half-assery of the film’s entire construction. This is soulless, paint-by-numbers filmmaking where the only people trying are its two stars, which only serves to make them look desperate.
Again, Let’s Be Cops is not the worst comedy of the year – holy hell, is Sex Tape ever an appalling train wreck – but it is a perfect distillation of everything that is currently wrong with the comedy genre. This trend of foisting near-laugh-free scripts on talented actors with lightning chemistry and expecting them to do all the heavy lifting with endless improv needs to stop. I don’t care that the majority of today’s movie star comedians and comediennes come with an improv background; there is a never a better substitute for tight editing and a raucous script stuffed to the brim with proper jokes from start to finish. Bad Neighbours got that, 22 Jump Street got that, why can’t anything else get that?
Dir: Akiva Goldsman
Star: Colin Farrell, Russell Crowe, Jessica Brown-Findlay
That’s right, folks. A film that I declared back in February to have been “one of the worst films that I have ever seen” is only #8 on my Bottom 10 of 2014. And, honestly, it’s really only here out of some sort of obligation. Oh, sure, A New York Winter’s Tale is pure garbage of the highest order, but it’s a film that I have warmed to since then, probably because it, unlike a lot of the tripe populating this list, at least is completely sincere in its attempts to be good. Therefore, although I hated it at the time, I don’t hate it with the same ferocity that I once did. Not anymore, I feel like I have moved on from it.
Again, though, that doesn’t stop A New York Winter’s Tale from being a complete and total failure on every single conceivable level of filmmaking. The dialogue is atrocious, the plot is nonsense, it looks dreadful in both the practical sense – of set design, shot composition, costumes, hairpieces and such – and the computer-generated sense, it boasts atrocious performances from everybody involved, it is paced like a marathon populated by narcoleptics, its attempts at thematic resonance and foreshadowing are quite literally laughable… I’m honestly not sure what’s more inadvertently hilarious, the movie or the fact that a former Oscar winner convinced Village Roadshow Pictures to give him $60 million and several talented high profile actors to give several weeks of their lives to filming this piece of guff.
The plot powering this guff – based on a novel I haven’t read but is apparently, by all accounts, nowhere near as rubbish as this – centres around Colin Farrell as a potential miracle maker who was raised and then hunted by a demon, played by Russell Crowe, legitimately named Pearly Soames (real name, not the gender-flipped version of Pearl from Spongebob Squarepants), who works for Lucifer, played by Will Smith (an incredibly sleepy and checked out Will Smith, before you get excited and, yes, it is problematic that the one major black guy in the film is playing Satan). It turns out that Colin Farrell’s miracle is to apparently cure a young woman’s terminal tuberculosis through the power of love, whilst Pearly (real name) hunts the pair down with murderous intentions cos Lucifer don’t like any sunshine or kittens getting out into the world, thank you kindly.
See, this all sounds like the most enjoyable nonsense, a “So Bad, It’s Good” of epic proportions. Yet, whilst I was watching the thing, I didn’t find it funny because it is so po-facedly earnestly serious about its stupid endeavour that any fun to be had at its ridiculous awfulness was lost. This was a film with a Pegasus, a ridiculous pace-killing near-century time-skip, and a sequence in which somebody is quite literally f*cked to death, and all I could do was check my watch, yawn and question whether walking out would be preferable to continuing to submit myself to the thing – although I did laugh at the reveal of the Pegasus, mostly because it looks like what you’d get if you asked a 5 year-old to recreate the Tri-Star logo in MS Paint in the next 30 minutes.
But I no longer hate A New York Winter’s Tale. I did, once upon a time, enough to write a long-winded and pretty funny review (if you’ll allow me one of my five annual tootings of my own horn) tearing the thing to shreds, but no more. I have made my peace with this film’s existence. If I were to ever see it again – preferably in the company of friends, drunk on soda of various kinds, during a Bad Movie Night – I’d probably be able to crack wise at the thing effortlessly and have myself a gay old time. It is still one of the worst movies I have ever seen in my 20 years of existence, but as previously mentioned this is not a Worst Movies of 2014 list. Therefore, A New York Winter’s Tale stalls out at #8. The bile saved from this can instead be deployed on other, more deserving films, such as…
Dir: Michael Bay
Star: Mark Wahlberg, Nicola Peltz, Stanley Tucci
This one is just as much my own goddamn stupid fault as it is the film in question. I stupidly – and it is stupidly, there is no other word or reasoning to make this alright – let a part of me become somewhat hopeful that this time things would be different. The Transformers series, under the creative direction and influence of these people, gave me absolutely no reason to believe that it could produce anything great or even worth my time. Yet, a part of me was allowed to be quietly optimistic. After bottoming out with Revenge Of The Fallen, Dark Of The Moon took the series’ first tentative steps towards being a good movie – it wasn’t one, but it was on the path to at least being entertaining – and 2013’s underrated Pain & Gain proved to me that Michael Bay hadn’t forgotten how to make movies. So a part of me got a little hopeful; this time, things were going to be different.
They weren’t. They weren’t at all. Age Of Extinction is a regression back to all of the same toxic sh*t that Transformers, Revenge Of The Fallen and to a lesser extent Dark Of The Moon had peddled beforehand, only now even more bloated and expanded and epic-ised (which isn’t even a real word but was likely a direction used for scene prep at some point during this thing’s production) to levels that make the resulting product an endurance test instead of anything that anybody could find entertaining. Casual racism, creepy paedophilic undertones, an actively hateful bordering on misogynist view of women, product placement – including product placement for The People’s Republic of China despite current world events making that one of the most tone-deaf things one could do – abysmally directed and incomprehensible action, active wasting of interesting themes, and an utterly awful Imagine Dragons song – which is a step down from Linkin Park.
And in other news, the sun rose today, the sky is blue, and George Clooney is an incredibly sexy man. Look, I get that we have all collectively realised that the Transformers movies are abhorrent pieces of trash and that their continued financial success will be one of life’s big mysteries. Age Of Extinction’s appearance on this list is that barrel full of fish that I mentioned earlier, but sometimes really obvious fish need shooting for a reason and this metaphor has broken down. Point is, Age Of Extinction is a reminder that there are people out there who have nothing but contempt for the movie going audience. Who believe that they can push out thoughtless, stupid, toxic crap and that people will show up to buy it because the explosions are big and shiny and purdy. There is always room for big dumb action films – the Fast & Furious franchise is beloved for a reason, after all – but those are films that do so with glee, joy and smartness, as crafting a good big dumb action film takes actual effort.
Age Of Extinction is not that film. It is a cynical, joyless, mindless exercise whose sole reason for its existence is to line Paramount Pictures executives’ pockets with more money. And I went into it stupidly thinking that it wouldn’t be. People went to see this and not Edge Of Tomorrow, and, thanks specifically to China, we will be suffering through two more of these sh*tfests. Well done, everyone. Sterling job.
Dir: Marc Webb
Star: Andrew Garfield, Emma Stone, Jamie Foxx
We are in the middle of a full-on comic book boom at the cinema. Now, admittedly, we’ve been in one since the early 2000s when Spider-Man, X-Men and Blade were ruling the box office, but we’re really in the midst of one. Every studio has, or is attempting to cultivate, their own comic book empire out of the materials that Marvel Studios hasn’t already swallowed up, everybody is trying to serialise everything, and Marvel this year dictated the exact days in which I need to sit my ass down in a cinema for the next five years. This boom will bust out eventually, but things are looking good for now.
They won’t look so good for very long, however, if studios keep pumping out films like The Amazing Spider-Man 2. This one was a time-bomb, folks. As you may have gathered from my original review, I strongly disliked the film but I didn’t hate it at the time – I thought I’d found a couple of redeeming factors and let the potential of the series dilute some of my venom for it. But then it sat in head. And sat. And sat. And, for at least three months afterwards, it wouldn’t leave because myself and my friends kept finding more and more wrong with it the more we let it settle. We found new problems – like the incredibly poor pacing and structural mess that robs anything of any resonance – whilst old problems – the incredibly creepy and borderline sexist crap with Peter Parker and Gwen Stacey, Peter’s problem of him being a giant dick – were found to be even more systemic and problematic.
In the end, though, it all comes back to this simple fact: The Amazing Spider-Man 2 is not a film. It is a commercial for the next film, and also a Sinister Six film that literally nobody was ever asking for. This is not a film that was made by a cast and crew with a vision, a story to tell, and the drive and passion to pull it off. This was a film ham-fistedly dictated by a studio for the sole purpose of forcing a franchise and making a lot of money because, “Yo! Those kids loves them some Spider-Man! I spies dollar signs, boys!” There is no narrative reason for this film to exist, there is no thematic reason for this film to exist; this is a film that exists because Sony saw that Marvel Studios have made Scrooge McDuck-money with their franchises and shared universe continuity and wanted that green without actually having to do the work necessary to earn it.
Do you know why Marvel can unveil concrete dates for a five-year plan of films and the only negative thing it does to us is make us contemplate our own fragile mortality? It’s because they, first and foremost, tell stories. Each film so far, despite this shared-universe thing and their franchising and sequelising and such, works as a film on its own. They tell complete stories, have effort and craft put into them, and each of them exist because, or give a good enough illusion, somebody wanted to tell a story, first and foremost. Are they often still safe, less groundbreaking and risky than they appear, and mandated by the producers at the studio? Well, yes, undoubtedly, but the films are great and satisfying and fun and have real effort put in that I really don’t care.
Marvel Studios, essentially, have earned my trust, and near everyone else’s trust, in this grand experiment because they have proven first and foremost that their movies are worth the commercial avenues that they will be taken down. Sony don’t want to wait for that trust and have forced the Spider-Man license through the most cynical, money-driven, bereft-of-ideas ringer they could get their hands on, and practically every problem with The Amazing Spider-Man 2 can be traced back to a studio wanting their money now and not thinking through, or putting any effort whatsoever into, a single one of the film’s creative decisions. When people disparage comic book movies and serialisation of movies, this is what they are referring to and I shiver at the possibility that I will be seeing more Amazing Spider-Man 2s in the coming future.
Sony, just torch the franchise and negotiate with Marvel. Please? It’s clearly been more trouble for you than it’s worth. Just wash your hands of this game and move on. For all of us.
Well, we’ve made it halfway through the list. Agree? Disagree? Think I was being too harsh/not harsh enough on some of these? Let me know in the comments below! Tomorrow, we wrap up this week with the absolute bottom of the barrel. Brace yourselves…
If there’s one thing that gets Steve more excited than football related news, it’s football related film news. And we’re not referring to the revelation this week that Michael Owen hates all movies.
by Steve Norman (@StevePN86)
One of my favourite, and most under-rated comedies, Mike Bassett: England Manager, has a sequel. Personally I’m worried it will not live up to the original although a title of Mike Bassett: Interim Manager hints that it may still take a witty, satirical look at the beautiful game.
For £5k I could have a speaking part. So come on, put your money where your mouth is and get me on the big screen.
The Viewing Dead
Zombie series The Walking Dead broke all US cable records this weekend with the premier of its fifth season. 17.3 million tuned in to see Rick, Daryl and their group of survivors fight back against their captors at Terminus.
This beat the previous record of 16.1 million set by the shows fourth season premier. The show’s popularity was further enhanced due to the fact that over 12 million illegal downloads were made worldwide within the 24 hours after it aired.
The action packed opener will hopefully set the tone for a good series. Most previous seasons have featured strong beginnings and ends but have sagged in the middle. With the story taking slight deviations from the comic book we may see some fresh and interesting ideas and characters.
Where’s the News?
A lot of the time when researching this weekly article websites pass off new trailers or posters as news.
Is that actually news? Not in my book. It’s advertising.
Why Are Pirates Called Pirates? Because They Javi-ARRGHHH
Pirates Of The Caribbean: Dead Men Tells No Tales looks set to be the fifth POTC movie and is due for a 2017 release. Former Bond villain Javier Bardem has been linked with playing the protagonist to Johnny Depp’s Jack Sparrow.
Big news coming out of Marvel this week with the announcement that Robert Downey Jr. will play Iron Man in Captain America 3.
No plot details have been revealed as of yet but the poster/artwork released may suggests, and will no doubt fuel the Twitter rumours that Steve Rodger’s third solo movie will take the Civil War storyline from the comic books to the big screen.
In Civil War Iron Man and Cap go head to head along with many other superheroes, good and bad, and has far reaching implications for the Marvel Cinematic Universe, even more so than Cap 2.
Of course this could all be bluff and double bluff and the film is comprised of completely original material.
Outside of Marvel Michael Keaton has revealed that he would be up for playing Batman again. Hardly a huge revelation, I’m sure Adam West would be as well if you asked him.
DC have also said that Wonder Woman’s origins will be revealed in Batman vs Superman but rather than an Amazonian she will be the daughter of Zeus, according to producer Charles Roven anyway.
Quite why the origin of a popular and well established character needs to be changed is beyond me, and most people and it just gives another reason for people to doubt the movie.
Join us again next week, where we will return to give you another round up of the latest in film news.
An immense step-up from the original, if nothing else, The Purge: Anarchy is a trashy, violent and disposable B-movie.
by Callum Petch (Twitter: @CallumPetch)
2013’s The Purge was one of the most frustratingly terrible movies to come along in damn good long while. The golden premise: it’s the near-future and the United States government has been overtaken by a party dubbed The New Founding Fathers. Under their stead, crime is down to an all-time low, poverty is near non-existent and the country is in an economic boom. Their secret? The Purge: an annual event where, for one twelve hour period, all crime is legal. The idea being that the citizens of America can let out all of their frustrations without fear of reprisal, getting it all out of their system, but in reality it seems a lot like the rich get to use the night to switch their figurative preying on the lower-classes into literal preying on the lower-classes. You could have touched on so much with this excellent premise and The Purge used it for… a home invasion horror movie.
That is not just blowing a fantastic premise; that is actively wasting my time. And it wasn’t even a good home invasion horror movie! It had no characters, nothing new or interesting to add to the home invasion sub-genre, nothing to say despite having a premise ripe for social commentary and satire and, most damningly, it wasn’t even the least bit scary. Fortunately, the goldmine premise got out unscathed and I was willing to give this second go-around the benefit of the doubt before seeing it. So, the good news: The Purge: Anarchy is an immense step-up from the first film. It has “character arcs” and something to say and actually decides to explore its premise in an attempt to get its message across. The bad news: the film’s writing still isn’t particularly good and, at the times when this pulpy and trashy action flick decides it wants to pay lip service to its horror roots for a brief moment, it’s still pathetically non-terrifying.
Taking place on The Sixth Annual Purge, we take to the streets of Los Angeles to follow a group of five people. There’s a husband and wife (Zach Gilford and Kiele Sanchez) who, on their way to her sister’s house to wait out the purge and announce their separation, get stranded outside when a roving gang of masked psychos tamper with their car, having designated them as their prey for the evening. There’s a nameless man (Frank Grillo) who has chosen to take part in The Purge in order to take revenge on the man who killed his son. And then there’s a woman and her younger sister (Carmen Ejogo and Zoë Saul) who were safely locked inside their home until what looks a lot like a government death squad shows up to cart them away, most likely for a spot of murdering. Circumstances bring the five folks together and the nameless man (who, let’s not mince words here, is basically The Punisher) takes pity on the civilians enough to try and get them to safety, whilst still hoping for enough time in the night to be able to get his revenge.
Right, first things first, this is not The Purge Again. Whilst the first film was a horror, this one is a schlocky action flick with the occasional jump scare (I counted five total and they all prove, beyond all reasonable doubt, that writer/director James DeMonaco is utterly abysmal at crafting scares). That means that you can expect lots of blood, a tight and fast pace, competent but not mind-blowing or original action scenes, and a conspicuously constrained budget (seriously, for a film with Anarchy right in the damn title, there seems to be very little anarchy on the streets of Los Angeles). It is what it is, a pulpy b-movie. It’s not going to set any worlds on fire and it’s not an especially high quality b-movie, either, but it is good at what it does.
For one, there are actual characters and character arcs, this time. Whereas The Purge had static one-dimensional characters at best, Anarchy has clear definitions in its cast, individual characteristics if you will, and, and you may want to hold onto your head for this bit because I may just blow your mind here, actual character arcs! Characters start the movie in one place and then come out of the end of the night as legitimately changed people for whom their experiences have had a positive or negative effect upon! I know that this comes across as damning with faint praise, and that’s because it is, but the total lack of this stuff in the first film makes its appearance here all the more noticeable. Helping matters is that Frank Grillo is actually really good in the lead role. He has a very expressive face that also permanently looks weary, as if he is just completely tired of this sh*t at every opportunity. He imbues his character with charisma and he puts effort into his performance, when it comes time for his pivotal scene I was genuinely surprised by how interested I was in proceedings purely down to his full interest. The rest of the main cast get the job done, acting scared and out-of-their-depth most all the time, and the side cast get to indulge in their hammiest impulses, but Grillo is the draw, here.
As for the action, it is pretty good. Again, it is noticeably constrained by the miniscule (by Hollywood standards) $9 million budget, but DeMonaco does have a very good grasp of how to stage and shoot an action sequence. Remember that bit in the first film where Ethan Hawke fought off three of the masked intruders in a scene that was absolutely ridiculous given the context of the film it occurred in and the characters it happened to, but was at least admittedly decently shot and well-staged? Add a bit, but not an incomprehensible amount, of shaky-cam to that and you have Anarchy’s action scenes. Grillo’s (I’m just going to keep calling him by his actor’s name because he goes nameless for the whole film bar one little reveal) initial takedown of the death squad van is pretty cool and there’s a pretty good scene where the group are heading down a subway tunnel whilst pursued by crazed maniacs riding ATVs wielding flamethrowers, but proceedings don’t start approaching tense and great until the final sequence, in which the group is thrown into a hunting ground and forced to survive. If DeMonaco was willing to be a bit more original in the execution of said scenario, it could have been a very memorable and original scene. Instead, it’s basically what you’re expecting, but it’s a pretty damn good one, if nothing else.
You could throw the originality argument at the rest of the film, too, if you wanted, but at least DeMonaco really does actually do stuff with his million dollar idea, this time. Anarchy takes on a kind of episodic structure, where its cast wander into and out of various different scenarios that showcase various different aspects of The Purge and life on Purge night. You can probably figure out most of the scenarios without even seeing a second of the film and, yes, they all do still involve murder in some way (annoyingly), but the film gains something by not fixating for too long on any one bit. It gains pace, for one, direction, for another, and it all ends up building into the film’s overall message. A much better film would probably have found scenarios that don’t always end in blood and guts, but the film still does enough to make it not feel like my time is actively being wasted. People selling their lives to the wealthy during The Purge, psychopaths justifying their actions with scripture and how The Purge is their God-given right, non-Purge households, the possibility that maybe people aren’t actually as into The Purge as the government likes to claim they are… stuff like that and it’s all executed strongly if a bit uninspiring.
And it all feeds into the film’s overall message. Yes, Anarchy is an angry film and wants to say something with that something being this: “F*ck capitalism.” And, by Jove, is it not in the slightest bit subtle about it. Remember that bit in the first film where the preppy kid in the blazer stood in front of the camera and literally went on about how The Purge is his right because he is rich and the lower-class are scum and all that for a good two and a bit minutes? No? Well, here’s a brief reminder link for you. Seen it? OK, now, take that one scene, stretch it out for 103 minutes, and you have Anarchy’s message, with a bit of general anti-gun stuff for good measure. This is a film that quite literally has a sequence in which a woman with a redneck accent stands on top of a building, firing her assault rifle in the air and screaming through a megaphone about how she is “the left hand of God” and how purging is “her god given, constitutional right”. This is a film that quite literally has Michael Kenneth Williams burst in at one point and scream “F*CK THE NEW FOUNDING FATHERS, F*CK YOUR MONEY, AND MOTHERF*CK THE PURGE!!” This is a film in which every single member of the oppressed lower class is represented by a person of colour and every single member of the entitled and predatory upper class is represented by a white person, most often old.
Subtle is not Anarchy’s way of doing things, and I applaud it wanting to, and being so eager to, say something, if nothing else. There are only two problems. 1] I don’t think you’re going to find any member of your target audience who doesn’t already subscribe to your “f*ck capitalism” newsletter, movie. Sorry to disappoint. 2] The writing of this stuff is bad. Instead of having these ideas predominately come up through detail and world-building and such (you know, organically), Anarchy brings them up near-exclusively by having characters outright state the themes of the movie and how bad everything is. At one point, an evil character rationalises their life choices by outright stating multiple times that they’re doing it for the money. The upper class quote scripture before commencing killing. Michael Kenneth Williams, incidentally, plays the leader of the resistance who plan to use The Purge against the New Founding Fathers and he gets a lot of screen time. Screen time used to A) speechify about just how evil the NFF are and how abhorrent the idea of The Purge is and B) to walk around with a giant neon sign that reads “WE WILL PAY THIS OFF IN THE SEQUEL”. Look, I understand that some anvils need to be dropped and all that, but it takes strong writing to not make it feel like I’ve spent the last 100 minutes being lectured about the obvious (see Dawn Of The Planet Of The Apes for what happens when you pair that path with strong writing) and the writing here is, well, barely B-movie quality, to be honest. Yes, movie, I know that capitalism sucks and that the wealthy prey on the poor to make themselves richer. I’ve known that for a while, actually. Have you got anything else you’d like to talk about? Or at least find a more nuanced way to get your message across?
But, eh, I can’t complain too much. The Purge: Anarchy is a trashy B-movie and it’s good at what it does. I still don’t think that The Purge concept is being used to its fullest potential, but if pulpy violence is the way we’re going to go down then Anarchy does a damn fine job at making the most of it given the restrictions. If nothing else, it’s a monumental step-up from the terrible first film because this one is at least good at what it does and the resistance idea seems like something that genuinely will be properly paid off in the sequel. There is a great movie in The Purge somewhere and this one gives me hope that we may reach it a lot sooner than expected. As it stands currently, Anarchy is a good trashy B-movie. I can think of a lot worse ways to pass the time.
Also on the podcast that dare not speak the name of a hideous entity from the depths of Hell for fear of granting it extra power (basically that Neeson-starring revenge sequel), we review Paranormal Activity and the ‘found footage’ genre, Will Ferrell’s latest comedy The Campaign, and Gerry decides it would be okay to do something completely different this week.
What this podcast lacks in accuracy and insight, it makes up for in sheer shambolic joy!
Join us later in the week for our Triple Bill of Top Revenge Films!