Originally published at X-Media Online
Trailers used to be really bad. I mean painfully bad. They could reduce cinematic classics, such as Casablanca (http://www.youtube.com/watch?v=INBmVxAsdFE
), into muddled and ridiculous messes. They would go on for far too long, revealing far too much about a film. They were almost always garnished with
clichéd subtitles or voiceover.
As a result trailers weren’t very important. In the early days of cinema arty posters were the most creative aspect of a film’s promotion. However these days they are inescapable and the key tool in any movie’s marketing campaign. Entire companies are devoted to composing original music for trailers. A trailer’s success or failure can make or break a production’s box office success.
Some might miss going to watch a movie having never seen a single snippet of it; others may rant against the annoyance of a succession of trailers preceding the film they’ve paid to see. A persuasive argument can still be made, in some cases, that it’s a travesty to cut the best bits from a masterpiece and mash them together. It wouldn’t be acceptable to butcher Michelangelo’s David and parade the best body part around Italy to tempt customers to the main attraction in Florence.
But in my view those of you that still find trailers an unnecessary irritant are making a mistake. Rather than diminishing the cinematic experience, I believe they enhance it. They help generate anticipation. With modern editing techniques shoddy composition can largely be avoided. It’s possible to shape something that stands apart from the film itself and goes beyond advertising.
Mediocre action films can be made to look utterly engrossing. Mild, poor quality melodrama can become suffused with irresistibly powerful emotion. It’s still true, of course, that a poor trailer can fail to do a great film justice but that’s all part of the fun. Trailers require skill, originality and risk taking, like any form of art. I never skip the trailers on a DVD or Blu-Ray because I admire the acknowledged soul that condensed the peaks and troughs of a two hour long film into 120 seconds of intelligible and affecting story.
In this new feature, with the suitably cliché title of “Talking Trailers”, I’ll be trying to share the enjoyment, excitement and excellence of new trailers for upcoming films. I’ll also, no doubt, be pointing out some turkeys. Hopefully I can convert some indifference into enthusiasm.
In Part One I reviewed One Day and compared it to the phenomenally successful book it’s based upon. This is Part Two, in which I suggest alternatives to Anne Hathaway.
I know, I know. There is no alternative to Anne Hathaway, I hear you cry, members of the “I need Anne Hathaway like oxygen” club. She is undoubtedly a very pretty lady. I certainly did not object when she took her clothes off in Love and Other Drugs and she’ll no doubt look superb in leather in The Dark Knight Rises. She is also talented. She’s won deserved critical acclaim for her performances in Rachel Getting Married and The Devil Wears Prada etc, etc. Whatever her limitations in the accent department, Anne is what you’d call a hot Hollywood property, if you were the type to say such things.
However I think there were stronger candidates for the role of bookish Yorkshire lass Emma in One Day. This is categorically NOT because of her dodgy accent. Ok maybe it is a bit. But there was something disappointing about her performance that went beyond her misguided Emmerdale education.
Director Lone Scherfig has said that whilst One Day: The Book was in love with Emma, One Day: The Film is fascinated by Dexter, and whether he’ll pull through as an alright bloke in the end. For much of the film Jim Sturgess is acting like a dick on telly or being staggeringly ignorant of the emotions of his friends and family. Nevertheless it’s his story, his need for redemption from himself, which drives the movie. In the book we feel, or I felt, more anchored to Emma’s cruelly suffocated potential and deflated ambition. We’re waiting for Dexter to get his act together and save her from her own low confidence.
Perhaps the fact that the film is more centred on Dexter is not just down to changes in emphasis, tone and content Nicholls had to make in the script. Maybe Hathaway’s miscasting also had a role to play in that, in my view harmful, shift. Sturgess excelled as Dexter Mayhew despite the weaknesses of the big screen version. Hathaway was not bad as Emma Morley. But these three (coincidentally British) actresses might’ve been better…
Carey Mulligan worked with One Day’s director Lone Scherfig on her breakthrough picture, An Education. In my opinion she was perhaps the best Emma on offer. She is usually seen as more middle class characters with prim English voices but she would have nailed the studious, quietly creative and brilliant nature of Emma. You can imagine her hunched over a typewriter or book, looking shy, cute and inexplicably alluring. Basically she could play a convincing bookworm with strong principles. She also has the acting chops to deal with Emma’s heartache and traumas later in life. And when she whips off the glasses and comes out of her shell towards the end, when things start going right, audiences would be plausibly wowed at the blossoming beauty. Hathaway looked like a movie star dressing up as geeky and common.
Rebecca Hall starred alongside James McAvoy in Starter for Ten, another David Nicholls book he adapted himself into a movie, with considerably more success. Starter for Ten works well as a whole. It’s predictable but extremely enjoyable stuff. Hall’s character is a constant figure in the background, a determined student activist, who McAvoy’s University Challenge contestant eventually realises he’s meant to be with. She’s adept at being a student and shows an Emma Morley-esque kind nature throughout but the two characters are oceans apart. Could Hall do shy Emma? Her flourishing acting career shows her diversity. My bet is she’d have been as good as Hathaway at least.
Gemma Arterton has been a Bond girl, as well as mastering the regional dialect of the West Country to play frank seductress Tamara Drewe. She’s got double the amount of ticks in the accent column thanks to her role as another Dorset heroine; Tess in the BBC’s adaptation of Thomas Hardy’s Tess of the D’Urbevilles. After Tess Arterton will be no stranger to epic romance but like Hathaway she might be too conventionally pretty to pull off library lover Emma, who got a first in English and History from Edinburgh.
Let’s hope Hathaway makes a better Catwoman…
It’s been a while since I went to the cinema. But it feels much longer than it actually is. That’s because it’s summer blockbuster season and every week a new big gun toting production swaggers into town. Stay away from the saloon for too long and you’ll have nothing to talk about with your fellow drinkers because they’re engrossed in conversation about things you haven’t seen or experienced. Sure you can try to chip in with your recycled opinions but you feel like a cheat. And most of all you feel jealous.
Some films I would have liked to have seen had already been EXPELLIARMUSED! from multiplexes by a certain boy wizard’s refusal to die quietly and works of art like The Smurfs and Mr Popper’s Penguins. I know that later in August I want to see Cowboys and Aliens, One Day and the film of the TV series that defined my generation, The Inbetweeners Movie, so I figured I better catch up before then.
At the time of writing Rise of the Planet of the Apes and Super 8 have exactly the same score on Rotten Tomatoes, with 82% each. They also have identical ratings from numerous respected reviewers, including four stars apiece from Empire Magazine. Because of this it was completely logical of me to decide to watch both films and report back with absolute certainty on which is the best blockbuster of the summer, as clearly the others and those yet to be released, can be discounted.
First up then at 11.30 in Screen 10 was Rise of the Planet of the Apes. I couldn’t quite believe I’d paid to see this as I walked in. I’d never really enjoyed the previous films from what I could remember of them. I was also genuinely baffled by the growing chorus of support for the motion capture technology used to create the rebellious cheeky monkeys. The first trailer I saw for the film helped me decide in a nanosecond not to make the effort to see it. It looked like a naff CGI fest with a ridiculous concept and some awful lines of dialogue. And there was the sickening clumsiness of that double “of the” in the title.
I was persuaded to give Rise a watch by the film reviewing community online and I now have a newfound trust in them. There’s no doubt that this will be the runaway surprise success, at least critically, of the summer, if not the whole year. It’s not what you expect it to be and yet it delivers what summer audiences are after. By the end of its 105 minute runtime I was converted from a suspicious sceptic into someone salivating at the thought of the sequels.
It’s hardly a spoiler to say that the apes rise up in this film and that events begin to take place that will lead to the “Planet of the Apes”. As other reviewers have pointed out though, what’s really interesting and remarkable about this film is how we get to the final twenty minutes of solidly entertaining, action packed revolt. The climax is explosive and plays out on a hugely impressive scale, with stunning special effects and fresh ideas for set pieces. But the drama of this action comes from the build-up in the rest of the film.
It charts the life of Caesar, an ape played via motion capture by Andy Serkis, a veteran of the technology after his iconic roles as Gollum and King Kong. Serkis is unquestionably the real star of this production, despite other big names like James Franco, Brian Cox, Freida Pinto and Harry Potter’s Tom Felton orbiting Caesar’s central story. The effects are vastly improved from the initial trailer that underwhelmed me. Facial expressions and movements are so lifelike that despite the lack of dialogue, indeed perhaps partly because of its absence, the scenes amongst the apes with no human interference are some of the most intense and engaging in the entire movie, well handled by director Rupert Wyatt.
Caesar is the offspring of an ape called Brighteyes that responded to an experimental cure to Alzheimer’s. However she was killed when she rampaged, in a maternal rage, around the headquarters of the pharmaceutical company James Franco’s character, Will, works for. Will took the baby ape home so it could avoid the cull ordered by his profit minded superior played by David Oyelowo. He cares for Caesar, practically as a son, for a number of years at home, where he notices increasing signs of a heightened intelligence passed
on from the effects of Will’s drug on his mother.
I make it all sound dull. But a bizarrely convincing and charming family dynamic, which just happens to feature an ape, begins to form. Conveniently, for plot purposes at least, Will’s Dad has Alzheimer’s. Encouraged by Caesar’s progress Will treats his father with the drug, which cures him in the blink of an eye; for a while at least.
Rise of the Planet of the Apes is carefully constructed. It helps its structure that the conclusion is clearly defined from the off but it could still have been a flop. Instead a movie with some ludicrous components and some walking pace, stereotypical acting from most of the humans, including Franco at times, manages to be clever, funny and incredibly involving. The apes really are the key pieces of the puzzle, with Caesar a complex character in his own right who looks certain to remain compelling as he tackles rival apes (introduced here) in a power struggle in the sequels. There are so many interesting directions this series could follow, after ditching all the bad aspects of the original franchise, in favour of character based thrills with some genuinely insightful social commentary on big themes.
After a pause for a Greggs baguette and sausage roll, I was back at the cinema by 14.45 for Super 8 in Screen 1. I invested in popcorn because I’d been told for months now that Super 8 was getting back to what movies should be about, so I thought I’d better go the whole hog and sit back in anticipation. If I’d enjoyed Planet of the Apes I was going to love this.
In case you’ve been living in a secret underwater kingdom for ages, Super 8 follows a group of friends making a zombie film who witness a train derailing in spectacular fashion. They are then embroiled in weird goings on and Air Force conspiracies in their local sleepy town, as something appears to run wild. Oh and it’s pretty much a Steven Spielberg film, executive produced by the man himself and helmed by JJ Abrams.
The start works well, as most critics have said. Well at least it makes sense. You can’t help but be sucked in by the young cast and fascinated by their relationships. Joe is the focus of the story. His mother has died in an industrial accident and he barely sees his father, the Deputy Sheriff. His fat friend is making a zombie movie for a film festival with the help of a kid who likes fireworks, a shy and lanky lead and Joe’s makeup skills. Joe begins to fall for the beautiful Alice when they manage to recruit her to act in their masterpiece.
Then there’s that gigantic train crash. It was jaw dropping stuff at times but did anyone else think there were a few too many random explosions and balls of flame? I’m not complaining…well I am actually. Aspects of the crash didn’t feel that real. And as for the rest of the film, JJ’s trademark mystery is teased out too long, and when we finally see the monster it is a disappointment. The threat of the alien is never powerful enough to match the fabulous group dynamic between the friends.
Super 8 feels like the film Abrams wanted to make when he was younger. It’s sharply executed but more than a little messy and dare I say a tad immature? For all its influences it feels as though a particularly talented youngster is behind the camera at points, with a huge budget to burn compared to the DIY methods of the kids. Just like the kids making their own project, it’s as if JJ thought of the premise and the lives of the characters in detail but couldn’t decide where to take them.
So let’s compare and contrast. Both Rise of the Planet of the Apes and Super 8 have creatures (irrelevant) and post-credit sequences (even more irrelevant). In one film the humans disappoint and in the other the beast. If Rise had the human heart of Super 8 it would be the film of the summer. If Super 8 had the coherent structure of Rise to go with its incredibly moving moments, it too could have been one of the year’s best films. As it is they are both simply very good and worth seeing.
Sorry to end so abruptly, rather like Super 8. But if I had to choose one I’d go Apes.
Posted in Personal, Uncategorized
Tagged Andy Serkis, article, blockbuster, cinema, comparison, experience, feature, Flickering Myth, heart, hype, James Franco, JJ Abrams, Liam Trim, motion capture, Review, Rise of the Planet of the Apes, summer, Super 8, surprise, Twitter
Raymond Chandler’s 1939 novel The Big Sleep, the first to star PI Philip Marlowe, was ready made for the big screen. It had a zippy, twisting and engrossing plot, propelled at pace by short, sharp chapters that feel like scenes from a movie. It is full of characters that are enigmatic, living in the shadowy underworld of Los Angeles, but they all jump out of the page at you because they are so flawed and real. Appropriately, the whole thing plays out in and around Hollywood. And perhaps best of all, Chandler’s dialogue is quick and witty, containing cool and sophisticated one liners that are easy to transplant straight from a book to a script.
The classic film version, starring Humphrey Bogart and Lauren Bacall and directed by Howard Hawks, was released in 1946, just seven years after the original novel. Its place amongst other classics in a widely recognised Hollywood hall of fame is justified. It adds elements the novel was missing and brings screen legends like Bogart and Bacall together to successfully bring the charismatic Marlowe and feisty Vivian Rutledge to life. But it is also a largely faithful adaptation and owes its source material a huge debt.
What is the general story of The Big Sleep then? It is too complicated to properly explain briefly. Chandler’s original plot negotiated a weaving path between webs of blackmail, secrets and lies, fuelled by Hollywood excess. Essentially Marlowe is hired by General Sternwood who has two “wild” daughters, Carmen (Martha Vickers) and Vivien (Bacall), each with their own scandalous weaknesses. Carmen is being blackmailed by a dodgy bookseller doing something illegal on the side and Vivien’s estranged husband, who the General was fond of, has gone missing. Marlowe quickly unravels the blackmail but bigger problems continually turn up, leading him further and further into a tough investigation of gangsters, gambling and girls.
Elements of the original plot seem even more complicated on film because of the need to tone down Chandler’s frank portrayal of sex and drugs. For example Carmen is blackmailed because of naked pictures of herself but in the film she is wearing some kind of Oriental robe. Carmen’s attempts to seduce Marlowe, and therefore her dangerous nature, are also less overt in the film.
The best lines of dialogue are lifted completely unaltered from Chandler’s prose. There are far too many to quote. Almost all the dialogue in the book is slick and crucial to the irresistible noir style. The film’s script, by William Faulkner, Leigh Brackett and Jules Furthman, sticks as close as possible to the novel’s dialogue as well as its intricate plot and is consequently one of the best and most quotable in cinematic history, line for line.
The character of Marlowe comes to life because of his smooth talking street smarts. But this doesn’t mean that other characters are deprived of scene stealing lines. Even minor characters, such as a girl working in a fake bookshop called Agnes, get the odd gem. When Marlowe disarms her and asks “Did I hurt you much?” she shoots back “You and every other man in my life.”
Not all of the novel’s charisma could make it from the page to the screen. Despite an excellent performance from Bogart, accurately portraying Marlowe’s mannerisms and speech as the reader imagines them, it’s impossible to transfer the brilliance of his first person narration. Chandler gives Marlowe an incredibly strong voice and not all of the great lines in the book are spoken.
Marlowe’s nature as a detective means that he rapidly describes his surroundings vividly and unavoidably the film lacks the colour of these delicious chapter set ups, because it is in black and white. Marlowe also internally sums up other characters. We cannot see these first impressions on film. Despite the glamour of Bacall and the other actresses in the production, we’re denied such delicious and spot on imagery of the women as this; “she gave me one of those smiles the lips have forgotten before they reach the eyes”. No actress could express such subtlety. In the book we also learn a little more about Marlowe’s own state of mind and emotions, again through wonderful writing; “I was as empty of life as a scarecrow’s pockets”.
One of the changes the filmmakers did make was to intensify the relationship between Bogart’s Marlowe and Bacall’s Mrs Rutledge. The plot remains essentially the same, with some scenes tweaked and others, like a fairly pivotal one towards the end, omitted altogether and explained elsewhere. However Bacall’s character appears more often than she does in the book. The change in her character was probably for commercial as well as narrative reasons. Cinema audiences wanted to see a love story between their two big stars, not an unorthodox, cold and professional Detective teasing but ultimately knocking back a beautiful lady, as Marlowe does in the book.
Indeed the inclusion of the love story does fundamentally change Marlowe’s character in some ways. He is robbed of an ingredient of his allure as he is no longer a troubled but brilliant and determined loner when he admits that he loves Vivien. But it makes The Big Sleep work better as a standalone story and is considerably more satisfying than the end to the novel, which explains things but doesn’t exactly resolve them.
It is inevitable that the adaptation has its differences to the source material. And it is also essential that changes were made. I may miss Marlowe’s narration from the page and even the excitement of Chandler’s written action, compared to the film’s set pieces which are over in a flash. But the film gives me the unrivalled onscreen chemistry between Bogart and Bacall, which sheds light on and makes the most of the flirtatious relationship from the page. It might even reveal new truths in Chandler’s story, whilst lacking others. Overall though it’s clear that both the novel and the movie are sublime; clever and gripping, sophisticated and cool. Entertainment at its best.
Posted in Uncategorized
Tagged 1939, 1946, action, actors, adaptation, analysis, Bacall, Big, black and white, blackmail, Bogart, book, books, Carmen, Chandler, chapters, character, cinema, classic, classy, deceit, description, detective, dialogue, engrossing, fashion, feature, film, first, Flickering Myth, General, gripping, hall of fame, Hawks, Hollywood, Howard, Humphrey, imagery, journalist, judgement, LA, Lauren, legends, Liam, lines, Los Angeles, Marlowe, Martha, movies, Mrt'sblog, narration, noir, novel, one liner, one liners, opinion, pace, page and screen, page to screen, person, Philip, PI, pulp, quick, Raymond, Review, scarecrow's pockets, scenes, screen, setting, shady, sharp, silver, Sleep, smile, snappy, Sternwood, style, stylish, The, The Big Sleep, Trim, twisty, Vickers, vivid, witty, writing
I used to write all my blog pieces in Word and simply copy them. I shall probably still end up doing this in future when writing about certain things. But lately, especially writing about personal or passionate topics, I’ve taken advantage of the newly improved full screen mode on WordPress or the “just write” feature.
I honestly didn’t realise how relaxing it would be. With nothing but your words on the screen it’s far easier to find a rhythm and concentrate on your flow of thought. It’s also easier to think about the quality of each individual sentence and how the whole thing will look when you’re done. Whilst your typing, no matter what theme you have, it will feel clean and professional.
I can’t believe that such a simple improvement in usability has spurred me on to write, about anything at all. It’s made the technicalities of the process more enjoyable and exciting again. And by getting rid of distractions you feel able to deliver your best more often.
I’ve been meaning to write about the doubts I’ve been having about my writing for some time. But with the novelty of this new feature, I shall just plough onwards and try to write through it.
Well done WordPress.
Posted in Personal, Uncategorized
Tagged 2011, blog, blogging, calm, carry, clean, Coraline, distraction, divert, doubts, each, easily, enjoyable, exciting, feature, free, full, going, improved, in, individual, just write, keep, Liam, May, midnight, mode, monday, Mrt'sblog, note, On, pleased, post, professional, quality, quick, relaxing, screen, sentence, technical, The, theme, tools, Trim, updated, white, writer, writing
“Shall we do something different?”
Yes please. Different is good. Different is a much needed break in routine, a relief from the crushing weight of the same-old-same-old cycle and an antidote to incoming insanity. Different is the much missed friend putting an end to the loneliness, at least for a while. Different is a reminder that life is full of innumerable things to make your heart leap and your mind spin excitedly.
Most of the time though I’m a useless person to ask for something different to do. It might be because I’ll be perfectly content in your company doing something mundane. Or it might be that no matter what we find to do, I’ll be unmoved by your presence and wishing you into someone else.
I’d like to think it’s because I think and dream too big. “Different” whisks my imagination off to alternative, culture rich lives in majestic European cities, seedy exploring and wandering in the downtown sprawl of Tokyo or star gazing from the core of the Big Apple. “Different” means a totally new me, another identity in another world; sitting in sleek sci-fi surroundings or standing at the corner of a glamorous Hollywood set from yesteryear. Maybe a different me would be knuckling down to a novel, screenplay or acclaimed biography.
Whilst I do spend too much time conjuring these far from feasible fantasy scenarios in my head, in reality I am narrow minded and imprisoned by the familiar. We all know what it’s like to be bound to the events of a set cycle and the trick to fulfilling lives is packing your itinerary with interesting and varied activities. Or perhaps it’s not. Perhaps it’s all about character and personality.
Everyone has a carefree friend and they’ll probably tell you to be spontaneous. They’re the ones who come up with the different ideas. My organisation fetish is perhaps incompatible with this zest for life and ability to not just put on a brave face or forget your worries, but forget you have the capacity to worry. These are the people that will pluck two random and achievable everyday things out of the air to create an enjoyable, “different” experience.
And so I come to the point: last night I watched a film with a friend on a laptop on a rural hill. She won’t be offended if I say that she’s not exactly carefree and laidback, so we were both rather surprised when she suggested such a random idea. It was a regular local beauty spot “with a twist”. It was different. Wonderfully and refreshingly different.
It some ways it hardly matters what the film was. The novelty was the important thing. Even having a laptop in my car, combining two things that I use everyday for the first time, provided inexplicable satisfaction. It might have been simply that a portable computer was truly mobile and that in theory we could watch a film or play solitaire anywhere my petrol tank could take us. I think I overcame most of the technological thrills to be gained from a laptop a while ago now though, so all I can really say, once again, is that it was different, it was new, and that this is what was so pleasing.
We watched Flight 93, a drama about the fourth plane to crash on the 11th September 2001 and the only one not to hit its target, due to the bravery of the passengers onboard. It was a rather heavy and “emotionally harrowing” thing to watch in the dead of night on a blustery hilltop. But we’d been meaning to watch it for AGES and maybe the delay deserved a grand, a different, setting.
I’m not going to review Flight 93. It has its faults, from dodgy CGI to flimsy characterisation, and felt like very melodramatic TV drama, but its aims in telling such a story were admirable. If this is a review it’s a review of a location.
So transforming a sweeping vista of a countryside valley into a personal cinema experience was easy – but was it worth the relatively minimal effort?
Well the “wow factor” of having stunning scenery casually in the background to the action of the story, was almost non-existent, because it was pitch black. We both agreed, obviously, that it was a more beautiful and stunning sight in daylight. However the dots of light twinkling below, decreasing in number as the film progressed, were a more interesting backdrop than the usual living room picture or bedroom clock.
What about the atmosphere? I think this was definitely enhanced in some ways by our elevated location. Given the film’s subject matter, the height of our position went a tiny way to making us feel in the air on a plane, certainly more than sitting at home. I guess we were also in a vehicle and the handbrake groaned a couple of times, so we may have felt a fraction of that helpless dependency on machinery.
The most atmospheric thing was probably the howling wind. Wrapped in darkness, I could feel the isolation of the people on Flight 93, separated from their families and loved ones by deadly danger. I felt I could imagine their intense loneliness a little better, filtering it through my own memories and the solitary surroundings of my car. And the sound of that wind rocking us was just a hint of the noises that would have terrified them.
Perhaps the best thing was the privacy. It’s great to watch films as part of an audience, each person reacting in their own individual way and passing on part of their experience to those around them, but films like Flight 93 are built on the personal. Our very different auditorium allowed us to digest our own reactions to Flight 93 in comfortable darkness, whilst also sharing our thoughts with the very best company, not just strangers or any old popcorn muncher.
I live in England and the drive-in cinema is an American phenomenon but even stateside it’s something that has largely become cultural heritage. What I learnt this weekend though is that getting out there to watch films definitely has its merits, particularly with the right friends.
Forgive me if I got overexcited about this. I’d love to hear the best and strangest places you’ve watched films. I know it’s possible to take the cinema anywhere these days, so go on, surprise me. Or surprise yourselves with a cinematic excursion.
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Tagged 9/11, acting, afghanistan, Ahmed, Al-Qaeda, America, and, April, atmosphere, atmospheric, audience, auditorium, backgrounds, Bang, Beamer, best, Big Apple, Bingham, bleeding, Blu-Ray, bombers, Brennan, Burnett, Bush, call, casualties, Central Park, CGI, characterisation, chilling, cinema, Colin, company, core, countryside, crash, crew, Cross, darkness, deaths, Deenah, dialogue, different, director, do, dodgy, dots, drama, drive-in, drive-in theater, DVD, eerie, Elliot, enhance, explosions, fade, fall, feature, Fields, film, films, fire, Flickering, Flight 93, flimsy, fly, fourth, friend, get out there, Glazer, Glick, harrowing, height, Hill, hjiack, how, howling, immersion, intimate, Iraq, isolation, Jefferson, Jeffrey, Jeremy, just write, Kendall, knife, laptop, last, lets, Liam, life, lights, Lisa, location, locations, lonely, Lyn, Lyz, Mark, Markle, method, mount, mountain, movie, movies, moving, Mrt'sblog, myth, New York, noises, Nordling, Obama, Olsson, personal, Peter, phone, pilot, places, plane, President, Qaida, rural, sad, Sam, Sarah, screenplay, script, September the 11th 2001, setting, settings, some, something, sound, steer, stewards, suicide, survivors, Telek, terror, terrorist, Theatre, To, Todd, Tom, Trade Centre, transform, Trim, tv, Twin Towers, Two Towers, txt, Ty, United Airlines, USA, valley, view, vista, war, watch, way, weird, when, where, wind, wonderful, writer, Ziad
If you’re not fed up with the circus yet, you soon will be. Every clowning performer, every newsreader, commentator and gushing crowd member, will be salt rubbed into your severely wounded mood. Gossiping and gawping at two rich strangers is irritating for half an hour, annoying for an evening and soul destroying after days and weeks. Wedding talk is a stressful and pointless nuisance. At the end of this week the womenfolk will be in an unstoppably riotous mood. It will be terrifying.
Your masculinity will be torturously chipped away. The usual refuge, the pub, will be hideously transformed into a paradise of bunting and delicate decoration. When the confetti and the cupcakes and the tiaras get too much, new escape routes will be needed. After the horrors of the day itself, you’ll need to rediscover your true self and chill out as a bloke again.
For the alternatives to the madness, the cures to wedding fever and feral femininity, keep it glued to Flickering Myth. We’ll remind you that there’s good honest entertainment worth living for after a monstrous marriage marathon.
Your first anti-wedding tip then is Kenneth Branagh’s (that’s right the thespian and national treasure, directing a comic book adaptation) eagerly anticipated Marvel epic Thor, in three dimensions courtesy of the now standard issue Elton John specs. After all what could be more manly than a hero with impossibly mahoosive muscles and a badass cape, whose principal superpower is a giant hammer for bashing stuff to bits? He’s a God-like handyman irresistible to women and the envy of lesser men.
I promised myself I wouldn’t resort to atrocious puns to describe the merits and failures of Branagh’s creation, as other reviews have done. But then I thorght, by Odin’s beard there’s no harm in saying that whilst this isn’t quite a thor star film, its plot hammers along with such thunderous gusto that it at least cracks the norse code of decent superhero movies for the most part. The critics are right to muck about with words and have fun with their reviews though; because Thor, whatever its faults, is a fun watch.
Despite the drawbacks of spending much of the running time in the CGI kingdom of Asgard, I found such a different setting mostly refreshing. Gleaming golden palaces, elaborate armour and impossible landscapes are ingredients unavailable to the likes of Batman and Iron Man, no matter how artificial the environment might sometimes seem. Undeniably at times the 3D CGI is visually dazzling and striking. There are even a number of good, thumping action scenes in the eternal realm. As some reviewers have pointed out, setting much of the film in Asgard ensures the audience becomes attached to it, whether they appreciate its over the top beauty or not.
There’s no doubt that the fun factor only truly kicks in when things literally crash down to earth though. There are a good number of gags, nearly all of which are LOL worthy. Thor amusingly thrashes about at the humans he interacts with, struggling to accept he is at the mercy of the mortals. He only really bonds with one of us human plebs, the beautiful and gorgeous (I do not have a crush!) Natalie Portman. She plays a scientist on the verge of some vague but momentous discovery to do with particles and space or something. Thor sees she is clever. And that she’s a woman too. Portman is by no means mesmerising as she is in Black Swan here, but she does the job asked of her by the story, as do Anthony Hopkins and even Chris Hemsworth as Thor, who looked so wooden in the trailer. No I don’t just think she did a good job because she’s hot.
You might like to know the basic thrust of Thor’s plot: Thor heir to throne, Thor seeks revenge on Frost Giants, Thor banished for breaking peace, Thor seeks to find lost hammer, Thor inadvertently falls for hot human scientist, Thor tries to return to save kingdom. I like to think he may have grunted it out bluntly like that. And yes you read that rightly, the bad guys in this are called Frost Giants. They are perhaps Thor’s weakest ingredient; childishly simple foes that are difficult to take seriously. But again they are at least different to standard superhero fare.
The best bits, besides the laughs, following Thor’s fall to earth are two stunning action scenes. The first sees Thor roaring like King Kong as he bashes a bunch of S.H.I.E.L.D agents. He’s trying to get to his beloved magical hammer, which is sealed off by awesome looking white tubes by the guys in suits that will link all Marvel’s superheroes together for the forthcoming Avengers film. The second climatic action scene sees Thor and his warrior friends fleeing from a fire breathing robot despatched by the traitor in Asgard’s camp to kill Thor.
This scene gets the best out of a small and dusty New Mexico town location; by smashing it to pieces with fantastic fiery explosions. The really impressive and surprising thing, especially given all the talk about Thor’s visual style, is the sound the killer robot makes every time it unleashes a fireball; it’s so piercing and deafening that you feel the impact of each blast. My friend violently flinched in surprise at one moment when the thing shaped up to slap something. Then in the aftermath of the destruction the soundtrack and the visuals reach suitably epic proportions for Thor’s big race against time comeback moment.
Thor is of course the God of Thunder, which is fitting given that most superheroes grapple with the stormy consequences of their own God complexes. Needless to say Thor predictably learns his lesson, to put others before yourself is truly heroic blah blah, but in engrossingly epic style. There is just something fun about this film, which makes you reluctant to dwell on its various faults and flaws. Thor ended leaving me wanting more from the character and more from his world, despite the silliness of some of the mythological squabbles. Branagh has not crafted the meaningful art he is accustomed to, but a fun and refreshing thorker of a blockbuster. He may be a prince, but Thor will easily sail your mind away from all things Royal.
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Chance and fate are like twin sisters; biologically related but far from identical. They are concepts we all know and experience day after day. Yet their effects fluctuate so wildly that no human being can define, prove or explain what exactly they are, or indeed confirm their existence with any certainty. The best, most brilliant minds throughout history have focused their attention on these beguiling, fascinating, unknowable sisters at some point. Everybody, from genius to crack addict, ponders the cruelties of chance, the favours of fate.
Was it chance that brought the girl of your dreams out onto the street in front of you? Was it just bad luck that you were spitting out your gum at the time, so that she walked head on into a potent projectile of sugared saliva and masticated goo? Or were you doomed to failure? Manipulative Miss Fate may have singled you out as her joke of the day. Then again, perhaps she was just redressing the balance after she took out the lights in the bar that time. Your powers of attraction increased tenfold in near darkness, allowing you to raise your standards considerably. That girl, let’s say Linda, barely noticed the peculiar crook of your nose, for instance, or the irrepressible leering tint to your eyes. But then again maybe there’s no balance at all, no order. Maybe it’s just Miss Chance, a bored, daydreaming secretary at her desk, absentmindedly jabbing at her keyboard.
Often the only way we can begin to explore or talk about these sisters is through storytelling. And George Nolfi’s first feature film as a director, The Adjustment Bureau, is fairly explicitly about the human relationship between our free will, each and every choice that we make, and our fate, the possible destiny that may be already determined for us, laid out beyond our control. The Adjustment Bureau is also a film that can claim to be a “sci-fi romantic thriller”; a distinctive and intriguing description of any story.
Indeed ever since I saw the trailer for The Adjustment Bureau I have been anticipating a thoroughly different blockbuster. Several of Phillip K. Dick’s stories have been taken on and adapted by Hollywood, and several more such as The Man in the High Castle (an alternative history of the Cold War), would make excellent movies. Dick had a knack for capturing fascinating science based or philosophical questions, within a captivating narrative framework that really made you think about the issue. Apparently Nolfi has expanded considerably on Dick’s short story, Adjustment Team, for this project, and that may account for some of its failings.
Numerous reviews have pointed out the plot holes in The Adjustment Bureau and lamented its implausibility. For a film marketing itself as exciting, the lack of engaging thrills has also been highlighted. It’s certainly something that requires a greater than usual suspension of disbelief to really enjoy it. However, critics have also been quick and correct to heap praise upon the performances of the two leads.
In interviews Emily Blunt and Matt Damon have talked of how they “dicked around” on set and tried to transfer some of this interaction, this genuine banter, to the screen. It’s a technique that worked tremendously well. Much of Nolfi’s dialogue in this film is good, but inevitably when trying to encompass such grand themes and deal with an issue like love at first sight, the odd passage is clunky, cliché and cheesy. These bad moments have the potential to seriously deflate the quality of a film. But Damon and Blunt’s brilliance ensures that these dances with disaster become strengths. Whenever an emotional speech is about to over step the mark, one of the characters, usually Blunt’s, makes a jokey remark to both lighten the tone and preserve the intensity of what went before. With such sensational plot components Blunt and Damon’s incredible, immense believability and appeal makes the romantic element of the story feel constantly real and affecting.
Damon in particular is excellent as the focus of the tale and adds another impressive notch to his CV. He appears to have truly arrived as a top Hollywood leading man. Here he plays up and coming senator David Norris, who concedes a mammoth lead in the polls thanks to some revelations about his wild shenanigans in the past. It was a step too far for voters, who had been willing to back the fresh faced, young and local candidate. Damon is completely convincing as a politician passionate for change but disillusioned with the system he must embrace to achieve it.
Underneath it all, Norris just wants company and affection, and this Damon portrays well too. In the Gents after his election defeat, he bumps into Elise, a contemporary ballet dancer. After an odd (but believable!) first meeting, Norris is as infected with the chemistry between them as the audience is. He abandons his conservative losing speech in favour of a frank, electrifying exposure of behind the scenes campaigning and the nature of politics as a whole. His popularity sky rockets (one of the film’s multitude of interesting ideas and points is how the public wants honesty in politics but good men are continually stifled from being themselves).
However when Norris tries to pursue his instant infatuation with Elise, he’s warned off by mysterious looking types in 1950s style period suits, wearing silly hats. This is The Adjustment Bureau; the people that make things happen according to plan. They are not all powerful, as they appear to be governed by their own set of rules and frequently require greater levels of “authorisation”, but they can flit about New York City by teleporting through doors and predict the choices you make. John Slattery, Anthony Mackie and Terrence Stamp, all give decent performances as agents of this supernatural organisation.
The dated look of the agents has come in for considerable criticism; but I rather liked it. Whilst the film could be more thrilling, it’s refreshing to watch a blockbuster that’s still exciting and engaging without being stunt heavy. The focus is not on the action but on the plot and the romance between Elise and David. As for the plot holes, especially increasingly silly ones towards the end, these are probably due to the fact that The Adjustment Bureau is ideas heavy. Sure some of these musings on such debated subjects as the limitations of free will, determinism, God, chance and love are far from subtle. But to me that doesn’t matter, especially given the convincing chemistry at the heart of the film driving it forward as the narrative focus. It’s extremely admirable, valid and bold to make a mainstream film about any of these ideas at all. The Adjustment Bureau will get you thinking and talking about them, and hopefully exploring these fascinating areas further.
Besides, in my opinion, not all of the film’s ideas are as flat and basic as some reviews would have you think. The corporation like structure of The Adjustment Bureau for example (with God referred to as The Chairman), made an extremely relevant point about the limitations of our free will today, in supposedly completely liberated western societies. We no longer realistically worry ourselves with tyrants and dictators, but money, class and big business can substantially shape our paths through life and the hold the powerful keys to turning points in our destiny.
I applaud the abundance of ideas in The Adjustment Bureau then, even if it could have been a better film. Because of all the talking points and its compelling romance, it is still a good and worthwhile watch. Perhaps the most resonant, but also cliché, point that it makes though, and chooses to conclude with, is that love is worth fighting for. Whatever uncontrollable obstacles life throws in the way, be it distance/geography, illness/injury or rivals/opponents, love can be enough and worth holding on to. No matter what.
Oh god. Did I actually just type that? Shoot me now. Yes their performances really are that good.
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