Unfortunately there are no instructional videos presented by Captain America to teach us how to write a good wholesome film review of the latest attempt at repackaging Spider-Man. Alas, you’ll just have to make do with Owen Hughes’s thoughts on this Sony / Marvel concoction.
“Sorry” might always seem to be hardest word, Elton, but “accountability” might be the most unsexy. Particularly so if you’re trying to build a 147 minute long action movie around such a concept.
Let’s chuck in a few more terms, shall we? How about “legislation”, “treaty” and “U.N.-Accord”?
Captain America: Civil War could easily have suffered from dry, phlegmatic, po-faced earnestness, wallowing in miserableness as a collection of dumbfounded superheroes sit on the naughty step and think about what they’ve done.
Instead, fresh from the Sokovia fallout of the dreary misstepping Avengers: Age of Ultron, our eclectic band of merry super-powered chums begin the third instalment of Marvel’s Captain America trilogy with a skirmish in Lagos. As perpetually happens around these unregulated vigilantes / brave protectors (delete as applicable), chaos, destruction and collateral damage is never too far behind.
Just as they were after the hundreds of deaths from the New York alien-attack in Avengers Assemble, the crashing helicarriers in Washington DC during The Winter Soldier, and of course the omni-shambles of Age of Ultron‘s Sokovia rescue, it’s the Avengers who are held responsible for the loss of innocents’ lives in Nigeria. Thus begins a slow dissection of the role played by a group existing outside of the law, punctuated by enormous and often exceptionally well paced inter-fighting punch-ups.
Policing the planet as they see fit in this fantasy world of magic crystals, impenetrable metals and super soldiers, it takes no time at all for
General Secretary of State Ross (William Hurt) to step in on behalf of a world scared half to death by a rogue, unregulated group of suited, walking, fighting nuclear bombs, tick-tocking their way towards a potential armageddon.
Although in name this is a Captain America sequel, it certainly feels much more comfortable as the Avengers follow-up many hoped for last year. Returning after a successful stint helming The Winter Soldier, directors Anthony and Joe Russo’s wizardry with a camera has thankfully kept consistency in tone with the franchise, as Civil War continues to be a hard-hitting, politically-charged commentary with genre-defining action sequences and equally solid performances from a cast slotting back into place like a well-worn suit made of iron with a robot friend called Friday inside of it.
Friends and ideologies clash frequently during the blockbuster – and only some of the time by using their words and not their vibranium inventions. OK, most of the time the hullabaloo breaks out into bouts of armour-clad blows, rather than democratic discussions. But it’s still much more “talky” for a blockbuster than perhaps one is used to. And, crucially, it just isn’t boring. It’s full of engaging and often thought-provoking dialogue. Quips and visual gags worm their way into some of the more serious conversations, but it still attempts to raise some tough topics.
Just as Mark Millar’s 2006 comicbook series (upon which this film is loosely based) dealt with a post-9/11 society, fearing a self-appointed world-police, too powerful to stop – or even if stopping them was the right or wrong thing to do – so too does the Russo’s version relate events to the real world. Civil War could quite passably be an analogy for gun control in the US, amongst other things.
For example, on one side, there’s Tony Stark’s (Robert Downey Jr) position as the man doing his best to negotiate a fair deal for his pals, arguing that the best way to arm is to disarm and sign the UN’s proposed Sokovia Accord (akin to the “superhero registration act” in the comics). On the opposite side is Steve Rogers’s (Chris Evans) team who feel it’s their duty to step-up whenever they need to, operating without the bias of any government agendas.
It could be argued that one side represents the regulation and control of firearms, with the other in support of the people’s right to bear arms (albeit briefly). The moment that the two teams clash in an epic showdown – the likes of which we haven’t seen performed as accomplished as this since Whedon’s Phase One concluding team-up some four years and six movies ago – puts paid to this exact notion from that point onwards. But there’s still a lot to be read into this movie. Prepare for more astute observations crossing your path in the weeks and months to come from thousands of other bloggers and writers.
Anyway, let’s take a quick look at the teams on either side of the scrap:
Against the idea of becoming United Nations controlled agents, restricted to fighting only the causes upon which they determine suitable
- Captain America / Steve Rogers (Chris Evans) – Leader of the movement and the main protaganist for whom the film’s perspective is mainly viewed from. Evans appears to be having a blast and his enthusiasm is infectious – but my God those are some seriously intimidatingly large muscles.
- Falcon / Sam Wilson (Anthony Mackie) – Cap’s best friend and winged companion has an increased role in Civil War and benefits greatly from it. The first time that Falcon has been more than a bit-part character and Mackie handles the responsibility with aplomb. He actually appears to have a purpose on the team rather than being Cap’s fluffer.
- Winter Soldier / Bucky Barnes (Sebastian Stan) – Previously the ex-Hydra assassin was a feared villain, but Stan’s portrayal of the man, turned into a complex and emotionally fragile victim with an edge of danger, sees him sit comfortably alongside his former buddy in Rogers’ motley crew.
- Scarlet Witch / Wanda Maximoff (Elizabeth Olsen) – The only Sokovian in the Avengers; traumatised and emotionally scarred by the events in her home country and those in Lagos, Wanda adds an extra dimension to the story, even if it is somewhat unrealised potential.
- Hawkeye / Clint Barton (Jeremy Renner) – Thank Christ there’s no longer any weak attempts to puff out Hawkeye’s background with side-plots about his family that go nowhere and add nothing. He’s about as close to writer Matt Fraction’s version of the character that we’ve had so far and, although brief, is Renner’s best turn as Hawkguy yet.
- Ant Man / Scott Lang (Paul Rudd) – Continuing to surprise, despite only a small (excuse the pun) part to play in Civil War, what Rudd does, Rudd does well. Fantastically well, even. He’s a highlight in what was already the best scene in the entire movie.
Team Iron Man
In favour of the UN’s Sokovia Accord, ensuring the Avengers are regulated by defence experts in order to limit the civilian casualties from their endeavours to save mankind
- Iron Man / Tony Stark (Robert Downey Jr) – For all intents and purposes, RDJ might as well share equal billing. It’s as much Iron Man 4 as it is Captain America 3. His role shows just how much the former weapons manufacturer has developed since first outing himself as a superhero in 2008’s Iron Man, bringing things full circle.
- War Machine / James Rhodes (Don Cheadle) – If Falcon plays the role of Captain America’s sidekick, then War Machine fits as Iron Man’s. Provides the logos to the debate relative to Falcon’s pathos. But man, Don Cheadle is looking old.
- Black Widow / Natasha Romanov (Scarlett Johansson) – The cynical may say Black Widow is only on this side of the fence to balance the teams’ female quotas. Nevertheless, the role she plays provides a contrarian narrative and further develops her relationship with Rogers from The Winter Soldier.
- Vision (Paul Bettany) – The suave-voiced red-skinned being is reduced to the role of babysitter for much of his screentime, but twice Bettany gets to show off his acting talents with moments of profundity that keep the near God-like being grounded and relatable.
- Black Panther / T’Challa (Chadwick Boseman) – Making his debut, the Prince of fictional African country Wakanda is forced to pick a side in his pursuit of vengeance. Boseman’s suitably unplaceable accent aside, he makes as much of an impact as one could hope for (if not more) in such a role. Bring on his solo film in 2018!
- Spider-Man / Peter Parker (Tom Holland) – Yes. Yes, yes, yes. This is how to do Spider-Man. It’s only taken 14 years, but this is it. Holland is perfect as the web-slinging wall-crawler in a larger role than perhaps expected. Currently in pre-production ahead of release next year, Homecoming looks set to be the fun adventure that the character deserves, if Civil War is any evidence to go by.
Regardless of the fact that we already have twelve characters squished into the two-and-a-half-hour long film, some people might be wondering where the other chaps are. Where’s Thor, Hulk, Fury, Maria Hill, Phil Coulson (still) – heck, why are Ant Man and Spider-Man being invited to the big leagues but Daredevil, Jessica Jones, et al left un-namechecked?
It’d be pure speculation to suggest answers. It could have been a creative decision made by the Russo brothers or writers Christopher Markus and Stephen McFeely, with Thor and Hulk especially deemed too over-powered for a film like this.
It could have been Marvel big cheese Kevin Feige laying down the law. Ruffalo and Hemsworth might have been too busy with other projects. Who really knows? The same principle applies as it always does in these situations: It really doesn’t matter. These are the characters selected. This is all you’re getting. Deal with it, as the meme goes.
The biggest issue lies not with who isn’t in it, but with who it does include. Incorporating Daniel Brühl as Baron Zemo (an arch-nemesis of Captain America’s in the comics) structurally speaking makes a lot of sense when you lay out a blueprint for the entire movie.
However, the motivations behind his actions are at best understandable and at worst weak, predictable and a disservice to the character’s history. Also, he doesn’t wear purple pyiamas. What’s up with that?
Oh, right, yeah. It’s a bit naff.
Realistically, Zemo is somewhere in between the two, languishing around the “ordinary” mark. Hats off to Brühl for a competent account of himself as an actor, but Zemo is far from necessary in a film already overstuffed with characters. He adds nothing that couldn’t have been done equally well with, say, the returning Frank Grillo in a beefed up role as Crossbones.
Either way, it’s irrelevant as Captain America: Civil War is still very much worthy of your time. With a larger cast than any previous Marvel film, it somehow manages to balance screen time to an extraordinarily even degree, putting much of Phase 2 of the Marvel Cinematic Universe to shame.
Yes, it may gradually escalate towards a big climactic fight scene, as happens in every
Marvel superhero comic book action film ever, but the route it takes to get there combined with the rationale behind it makes the deciding brawl more meaningful than your average crash-bang-wallop finale.
Civil War is interesting, exciting, often fun and slightly unconventional. It goes straight into the top tier of the studio’s output and will doubtless only improve on future rewatches.
“The tragedy of the Essex is the story of men. And a Demon.”
It’s been a long year; a year that seems to have been filled with more guff films than decent ones. Of course, you may disagree; you may not enjoy the same things I do and I may think what you like is complete toilet. The subjective nature of films aside, I think In the Heart of the Sea may be the film that finally killed my 2015. And I was hoping to end it on a high note, too.
Inspired by the true story that inspired Moby Dick – we’ll get to THAT in a bit – In the Heart of the Sea sees Herman Melville (Ben Whishaw), an author looking for inspiration for his next book, tracking down and persuading Brendon Gleeson’s Thomas Nickerson; a deckhand and last surviving member of the crew of the doomed whaling ship, The Essex; to tell the story of the ship, its crew and their encounters with the demon that tried to send them all to the bottom of the ocean.
Spinning Melville (and us) a yarn about his time as a teenager upon the Essex at the height of the lucrative whale oil trade of the early 1800’s, Thomas tells us the tale of a ship, captained by George Pollard (Benjamin Walker) a man who shouldn’t be captain and has instead been born into the position; with a first mate (Chris Hemsworth) who really should have got the job but has been nudged back because his surname isn’t Pollard. This man, Owen Chase, is the perfect man to run a ship like this, on a mission like this, but has instead been shunned because of his lineage and now we have a ship with the two people in charge already at odds with each other. This doesn’t bode well for our crew that includes the adolescent Nickerson (Tom Holland) and a sailor trying desperately to stay sober (Cillian Murphy).
As the weeks go on and the whale sightings dwindle, the crew catch word of a part of the ocean far from any known fishing area where the sea is brimming with the giant mammals to hunt. With promises of enough oil to fill their hold twice over, the crew set to these uncharted waters with hopes of a fortune ahead. The problem is, almost as quickly as they find what they are looking for, something finds them; a monstrous whale that dwarfed all those around it takes umbrage at the sailors’ presence there and proceeds to obliterate the whaling boats, the sailors, and eventually the Essex using nothing but its size and strength. The whale – let’s call him Moby – then taunts the survivors for an hour and a half as they Jerry-rig a life raft and try to float home via desert islands, cannibalism and intense beard growth.
In the Heart of the Sea may be the most disappointing Ron Howard film that I’ve seen to date. It acts as if it has something to say but doesn’t even come close to telling me anything of note. The film is about as plain, and by the numbers, as it could possibly be, substituting characterisation for celebrity – hoping that casting Thor will be enough to carry the film – and storytelling for nice special effects. Sadly, neither do their required job and about the only thing I got from my trip to the flicks to see this was a comfy seat for two hours and an excuse to eat popcorn. In truth, the only reason I stayed until the end of the film was the fact that I had already bought my popcorn and didn’t want to leave it, or my Starbucks, behind.
Make no mistake, it’s a very pretty film. The CGI looks great, the boat and its movement on the water look amazing and I’d even go so far to say that a lot of the scenes, especially the underwater ones, look spectacular in 3D. But this doesn’t save the film from being a dull, lifeless two hours where the only thing it serves to tell us is that both Chris Hemsworth and Brendon Gleeson can’t do a Boston accent very well and that humongous fish are not to be trifled with when all you have is a rowing boat and a large cocktail stick to stab it with! Much has been told of Hemsworth’s transition from muscle man to starving survivor. Unfortunately, I have seen Christian Bale do it three times now and I find myself unimpressed when you put yourself through that for a lacklustre film.
Finally, I promised I’d bring this up, but I am really getting a little sick of this “inspired by true events” shit. Every other film is “inspired” by some true story or another and In the Heart of the Sea is the most heinous of these films. The trailer tells us “inspired by the true story, that inspired the legend, Moby Dick”. Forgetting for a second that a trailer filled with huge fuck-off whales knocking seven shades of shit out of boats didn’t need to tell me it was Moby Dick; but this whole “Inspired by…” shit just screams “I wanted to tell this story, but couldn’t make it interesting enough without changing it”. But to do that to Moby Dick? That, Mr Howard, is arrogance of the highest order and is absolutely inexcusable from a veteran director. Shame on you.
No, we haven’t brought back Brooker and Paul!! I’m talking about the prequel to Illumination‘s Despicable Me franchise, all about those little yellow goofy sidekicks. Joining Steve Norman and Owen Hughes to review Minions is our animation expert Callum Petch. The team also take a look at action thrillers Everly (starring Salma Hayek) and Eli Roth’s Knock Knock (starring Keanu Reeves).
There’s even some news for the group to discuss this week as Tom Holland is named as the new (yes, NEW) high school age Spider-Man (they’re really making another Spider-Man film!) (Really!)
We also have a special guest débutante to the Failed Critics podcast in Nick Lay, author of our articles on We Are Many, Dish & Dishonesty and Kung Fury! In a pre-recorded review, he joins Owen all the way from Canada to discuss the micro budget British thriller Through The Lens. Meanwhile, Steve reveals the startling news that prior to this week, he’d somewhat unbelievably never seen The Terminator before, whilst Callum takes over the b-movie duties from Owen to review 80’s cult classic Hard Ticket To Hawaii.
Join Steve, Owen and Callum again next week as we review Terminator: Genisys and Magic Mike XXL.
by Owen Hughes (@ohughes86)
I watch a lot of films. When I say “a lot”, I mean, a lot. I’m not boasting about this, I’m sure there are people who watch more and good luck to them! But there hasn’t been a week since the 20 – 26th August 2011 where I haven’t seen at least one film. In fact, the only week since then where I’ve only seen one film was 1st – 7th October 2011. Every week since, I’ve watched a minimum of two films within that seven day period. In 2012 I watched 464 films; in 2013 that rose to 555 films. So far this year, I’ve seen (according to Letterboxd + my private list of films I’ve yet to log on the site) 443 movies.
Yes. Exactly. For someone who doesn’t get paid to do this – who’s not employed by anyone as a professional film critic and holds down a full time job in a completely different industry – I’m fully prepared to accept that I do indeed watch a lot of films. A lot.
This month started no differently to any other from the past three years. I knew I was going to be writing a Decade In Film piece for 1964 soon and in the name of research had acquired a copy of the Vincent Price / Roger Corman classic from that year, The Masque of the Red Death. I watched it. I loved it. The following day, I had a look through my DVD’s to see if I had any other Roger Corman films floating about and there nestled in amongst the piles of unopened hard plastic cases on my shelves, on a three-films-on-one-disc collection, I stumbled across A Bucket of Blood. I watched it. I loved it. I began watching more and more Roger Corman and/or Vincent Price movies and before I knew it, by the 7th of October (amongst a few other movies) I’d seen at least one horror film per day.
It got me thinking; given that Halloween was a mere four weeks away, could I possibly make it to the end of the month, continuing on in the same vein; one horror film per day? I do watch lots of movies, but I am only human! Even I need a break every other day.
But there it was. A challenge had been set (by me) and I accepted (my own challenge). Fuck you, me! I’d show you (me) who’s boss (you/me). (Me.)
The key thing to establish before completing a challenge like this is setting what the parameters are. The most obvious thing to start with was to define exactly what I meant by a “horror film”. I did what any rational person would do and Googled it, taking the Wikipedia entry as 100% irrefutable evidence.
“Horror is a film genre seeking to elicit a negative emotional reaction from viewers by playing on the audience’s primal fears…
…Horror films often deal with the viewer’s nightmares, hidden fears, revulsions and terror of the unknown.“
Seems quite broad, doesn’t it? In the end, that turned out to be quite a helpful thing. As anybody who has listened to any of our ‘triple bill’ podcasts knows, I’m not too reliable when it comes to sticking within the boundaries of a particular topic. A little wriggle room meant, in theory, I could stretch from classic 50’s sci-fi and psychological thrillers, to Hammer Horror and good old fashioned ghoulish monster movies, should the need present itself. TV shows (The Walking Dead, American Horror Story and so on) or short movies would most definitely not be applicable. By film, I mean a feature film (that is, over 2400 seconds (or 40 minutes) in length).
The only other parameter left to establish was what did I constitute as “one per day”. Rather straight forward, perhaps, but what if I watched half a film on a Monday, fell asleep, and never went back to finish it? I decided that would not count. It had to be watched in its entirety that day for it to count. A couple of times due to various issues (such as internet cutting out in the middle of streaming a film on Netflix and not coming back on that day) a film had to be abandoned. If that was the case, it broke rule number 2 and was therefore not allowed.
I didn’t do this project for some sort of self enlightenment. I didn’t do it as a social experiment, or to make some kind of commentary on the film industry or film criticism either. I am simply an idiot with too much time on his hands who happens to have ready access to a film blog. Plus, it was kind of fun.
Below, I’m going to list the weeks through October and name each horror film that I watched per day. I’ll pick out one film to talk about. Are you ready? Let’s begin.
Week 1: Wednesday 1 – Sunday 5 October 2014
Wednesday – Cannibal (2014), The Masque of the Red Death (1964); Thursday – A Bucket of Blood (1959), The Tomb of Ligeia (1964); Friday – The Pit and the Pendulum (1961), The Little Shop of Horrors (1960); Saturday – Creature from the Haunted Sea (1961); Sunday – WITCHFINDER GENERAL (1968)
This was not my first watch of Michael Reeves’ horror. Tragically dying from an accidental barbiturate overdose at the age of 25, this would be his fourth and final movie. It details an episode in the life of the infamous Witch Finder Generall, Matthew Hopkins (Vincent Price) in the 17th century. Barbarically torturing women he denounces as witches, the film was originally heavily censored and notorious amongst horror fans. Ian Ogilvy plays a young Roundhead whose fiancée is taken and accused by Hopkins. Even watching this film a second time, knowing what is coming, it doesn’t make it any less brutal and horrific. If ever an ending to a horror film could be described as chilling, then it’s the final thud, thud, thud of this classic folk horror. And it’s impossible to let a review slip by without mentioning what a true genius Vincent Price was.
Week 2: Monday 6 – Sunday 12 October 2014
Monday – The Abominable Dr. Phibes (1971); Tuesday – The Fly (1958); Wednesday – THE FLY (1986), The House of Usher (1960); Thursday – Madhouse (1974); Friday – Premature Burial (1962), The Wasp Woman (1959); Saturday – Black Sunday (1960), Night of the Blood Beast (1958); Sunday – This Island Earth (1955)
As you can see from the above, I watched the fun and disturbing original film version of The Fly on the Tuesday of this week. It was enjoyable, fun and just a little bit twisted. However, immediately after it is David Cronenberg’s 1980’s Promethean body-horror retelling of this science fiction classic and it just blew the original out of the water. Or rather, as it happens, blew it out of the telepod. Starring Jeff Goldblum as Seth Brundle, a research scientist innocently working hard to invent a device that can instantaneously teleport an object from one pod to another, he accidentally splices his DNA with that of a humble fly. Thus begins 90 minutes of some of the most gruesome and memorable special effects in horror cinema history. An intelligent, well paced and horrifying sci-fi movie, it sits just one tier below the similar all time greats such as Alien and The Thing.
Week 3: Monday 13 – Sunday 19 October 2014
Monday – Tales from the Crypt (1972); Tuesday – Vampyr (1932); Wednesday – The Thing from Another World (1951); Thursday – Rasputin: The Mad Monk (1966), The Ghoul (1933), The Bat (1959), ZOMBIE FLESH EATERS (1980); Friday – City of the Living Dead (1980), King of the Zombies (1941); Saturday – The Silence of the Lambs (1991); Sunday – Revolt of the Zombies (1936)
Zombie, Zombi 2, Zombie Flesh Eaters, whichever of the 34 titles listed on IMDb that you may know it by, Lucio Fulci and Elisa Briganti’s exotic living dead film is one of the finest movies to ever grace the zombie sub-genre. It ticks every box and then draws a few extra boxes underneath with a Sharpe and ticks those too. Whoever knew that what they really wanted from a zombie movie was to see one of the undead wrestling with a shark underwater? Certainly not me until I witnessed it. Since then, I have rated every other zombie film by how many shark-biting-zombies it has in it. Suffice to say, it’s never been topped.
Week 4: Monday 20 – Sunday 26 October 2014
Monday – FRIGHT NIGHT (1985); Tuesday – Dracula (1958); Wednesday – The Intruder (1962); Thursday – House (1986); Friday – The House of the Devil (2009); Saturday – Black Sabbath (1963), Dracula: Prince of Darkness (1966), Dawn of the Dead (1978), Day of the Dead (1985); Sunday – Creepshow (1982), Vault of Horror (1973), The Incredible Shrinking Man (1957)
What a week this was! I could’ve chosen virtually any of them to talk about. Of all the films listed above featuring iconic vampires, this typical 80s comedy-horror about a teenager who believes his new neighbour is a vampire was the clear standout. I’d seen the 2011 remake before and found it be enjoyable (perhaps surprisingly so) but as one might expect, the original is best. Director Tom Holland would go on to find further success later in the decade with his most famous movie Child’s Play, but I honestly don’t think I had as much fun with any new discoveries this week than I had with Fright Night.
Week 5: Monday 27 – Thursday 30 October 2014
Monday – Hatchet for the Honeymoon (1970); Tuesday – THE CURSE OF FRANKENSTEIN (1957); Wednesday – Island of Death (1976), Creature from the Black Lagoon (1954); Thursday – Ils (Them) (2006), It Came From Outer Space (1953)
This has not been my favourite week. In fact, you might say it has been horrorble (hey, hey, see what I did there??) thanks mainly to two depressingly crap 70’s exploitation films. However, one of those other movies has more than made up for that on its own. This Hammer Horror film, the first to unite long time friends Peter Cushing and Christopher Lee (and the studios first colour movie) was a real gem. A frankly quite astounding financial success for the British film industry at the time, the movie took as much as possible from Mary Shelley’s original novel, added its own new-wave horror flavour and tried as carefully as possible not to infringe on any Universal Studios rights. Unrecognisable as being anything at all to do with the James Whale / Boris Karloff classic (because, well it isn’t), it’s uniquely identifiable with two genuinely impressive performances elevating a film from ‘decent’ to ‘immensely entertaining’ virtually by themselves.
I guess all that leaves is today, Halloween! Should I make it home alive, then tonight I will be watching another horror movie to complete my self imposed challenge. If I’ve learnt anything from this past month of watching horror film after horror film, then it’s been:
- I am now a fully paid up member of the Roger Corman fan club
- Mario Bava just does not do anything for me
- No matter how good some horror films are these days, you just cannot beat the classics
What will you be watching tonight?
By Mike Shawcross
This review may contain spoilers.
Films depicting real natural catastrophes can be very hit or miss, and mostly they miss. Hollywood disaster movies often descend into melodrama and over-produced stylised action to raise the tension, and flesh out their simple survival plots. When these events are as recent as the tsunami of 2004, which cost the lives of over 200,000 people, and the images are still so vivid in our memories due to the large scale media coverage, is a film what we really need?
Maybe not, but the fact that this is a Spanish film with Juan Antonio Bayona (director of The Orphanage) in charge gave me some hope that the tragic events might be told in a more honest way. It also bodes well that Bayona decided not to specify the nationalities of the main characters, so as to create a universal film in which nationalities were irrelevant to the plot. I can understand the reasoning in casting an English-speaking cast, as if this had been a subtitled film a vast majority of people wouldn’t have bothered to see it. Of course this would lead to the inevitable American remake and the overproduction of the disaster.
Bayona centres his film on one family; a happy, normal family. If there are any tensions we are unaware of them; this isn’t a film about reconciliation or forgiveness. This is a simple story of survival, courage and hope against the odds that the members of the family are still alive. The fact that the film keeps them central throughout makes it work even more for me. This is their story, their ordeal. It makes no difference that they are not locals, or even that they are Westerners; at the end of the day they were still part of this disaster. They were just lucky enough to survive it.
Maybe that’s why Bayona wanted to take this family’s story, because it is remarkable and it is worthy of being told. I think the director has done an excellent job. It’s an extremely sensitive subject and will invoke quite a few negative feelings and naysayers. I have no idea how survivors will react to it either, but I hope some commend Bayona for his efforts. The scenes of the Tsunami hitting the resort and the aftermath are extremely powerful. I really got an understanding of the force of the water, the speed the wave was travelling, and how helpless people would have been as it hit the land. The aftermath was devastating to look at as well, as Bayona shows us graphic scenes of the victims and the harrowing distress of the survivors from the family’s view point.
Naomi Watts (Maria) in a physical demanding role really delivers. Her emotion never seems false, and she is just superb. Her scenes in the wave are excellent; and we can really see the fear in her eyes. Alongside her, Tom Holland (Lucas) as the eldest son gives a solid performance for such a young actor. This is also the best I’ve seen McGregor (Henry) recently (he was ok in Salmon Fishing in the Yemen, but here he really impresses). The score is quite simply beautiful, with pieces of music composed by Fernando Velzquez whose previous works include The Orphanage and Julia’s Eyes. He’s also composed the score for the forthcoming Mama, which is released in February.
My final thoughts are about the emotional connection I had with the story. I’m a family man with three kids, and maybe that’s why I was so emotionally moved by this film. That said, I suspect I would still have been moved by this tragedy if I was single. This is an uneasy watch about a disaster of massive proportions, but it is ultimately a powerful and uplifting story.