Dell slaves over a hot Blu-ray player for the good of mankind.
Showing posts with label Mark Strong. Show all posts
Showing posts with label Mark Strong. Show all posts
Wednesday, November 11, 2015
Tuesday, August 25, 2015
Monday, August 5, 2013
Zero Dark Thirty
Directed by Kathryn Bigelow.
2012. Rated R, 157 minutes.
Cast:
Jennifer Ehle
Edgar Ramirez
Harold Perrineau
It’s quite simple, really. This is all about the almost decade long hunt for Osama bin Laden after the events of 9/11. Maya (Chastain) joins the CIA’s effort early on and eventually comes to spearhead it. We see her and her colleagues feverishly gathering intelligence and note the differences in how this is done before and after the general public found out about waterboarding. We see Maya persevere in the face of waning support from her superiors. Finally, we see…well, you know how this ends.
Movies based on true stories generally have to contend with
the audience already knowing the outcome. Here, the problem is multiplied
because a) it is more well-known than most and b) it’s still pretty fresh in
our collective memory. The devil has to be in the details, and so it is. To
that end, we get a procedural chronicling Maya’s difficult path to victory. It’s
an atypical war movie in that it’s all about a chess match on the grandest
scale, not an all out depiction of battle. However, there are bursts of
violence sprinkled throughout and the culmination of all of our heroine’s work
is the operation performed by Seal Team Six. By the way, this is done with
great accuracy, according to everything I've heard or read about it.
Before we get to that finale, it’s all about war waged on
multiple fronts. Most obviously, there is the overall war on terrorism. Within
that broader scope, there is the war between the CIA and the White House over
what procedures are acceptable and which are not. Then there is the war between
Maya and her own bosses over whether or not to keep her pursuit alive. Speaking
of alive, there is also the war to keep her that way once her identity becomes
known to her enemies. As Maya, Jessica Chastain is nothing, if not fierce. Her
ferocity is drawn from unwavering conviction. She is the type of person we
viewers might not like if we had to work with/for her, but we’d appreciate her
and be glad she’s on our side. It’s not that she’s mean or even inaccessible.
It’s that to call her dedicated to the mission is like saying that Oprah has a
little money tucked away.
Through Chastain’s performance, an excellent script and
supporting cast, and the gravity of the situation, director Kathryn Bigelow
crafts an engrossing film. It grabs hold of us as it explains the hows of the
whats we already know. We’re intrigued by the process. When we get to the last
scene, we do as Maya does. We exhale.
MY SCORE: 9/10
Wednesday, January 16, 2013
John Carter
Directed by Andrew Stanton.
2012. Rated PG-13, 132 minutes.
Cast:
Lynn Collins
Samantha Morton
Dominic West
James Purefoy
Polly Walker
Daryl Sabara
Civil War vet John Carter (Kitsch) spends all of his time searching for a fabled cave full of gold. The Confederate Army wants to press him back into service. They capture John, he runs away, they give chase and start a little skirmish with some Native Americans who happen to be in the way. Our hero runs some more and practically falls into the cave he seeks. The only problem is there’s a strange looking dude already there. He and John get into it and bada-boom, bada-bing, John winds up on Mars, here called Barsoom, trying to save the planet from a budding tyrant who is getting some special help. Why yes, there is a pretty girl involved. Her name is Dejah Thoris (Collins). She’s a princess being forced by her father to marry the bad guy as a means of potentially saving their empire. You see, the king doesn’t watch movies and doesn’t know that these sorts of arrangements never work out the way you’d like. Oh, one other thing, while on Mars John can leap tall buildings in a single bound. Almost.
Almost is a good word to describe the movie as a whole. By almost, I mean it’s almost good. Visually, it is quite the treat. Narratively, it is not. Once our hero gets to Mars we get eyefuls of interesting creatures and scenes of swashbuckling that feel simultaneously futuristic and primitive. The action comes often enough, usually in the form of chase scenes, highlighting the things John Carter does well. It’s between those scenes where the issues lie.
The story itself suffers from over-familiarity. It’s strictly paint-by-numbers with no deviation from the beaten path. From the moment John reaches Mars his next step always feels pre-ordained. In short, we’ve seen this many times before. You know the drill: escape here, decide to help the natives there, realize you’re in love with the princess here, and so on. In fact, it too closely follows the template set by Avatar, sans the “go green” agenda. That movie has many of the same flaws (awful dialogue, forced love story, bloated length, etc) but is even more of a spectacle. Try as it might, JC never achieves the grandeur of Avatar making its flaws even more of factor.
For a light-hearted, kiddie-fied action flick JC isn’t really a terrible choice. It’s fairly fun and the two hours go by pretty quickly. It is likely to be a forgettable crowd pleaser. Sitting through it is pleasant enough. However, by time the credits roll, you’d be hard-pressed to differentiate it from any other movie where a stranger in strange land does what such heroes do.
MY SCORE: 5.5/10
Thursday, September 13, 2012
The Eagle
Directed by Kevin Macdonald
2011. Rated PG-13, 114 minutes.
Cast:
Jamie Bell
Tahar Rahim
Denis O’Hare
Dakin Matthews
Ned Dennehy
Julian Lewis Jones
Some years earlier, his father led a group of Roman soldiers into the wilds of 2nd century Great Britain. They were never heard from again. Also lost was the gold eagle each unit takes with them into battle. Now, Marcus Flavius Aquila (Tatum) is himself a garrison commander in the Roman army. He volunteers for a tour of duty in Great Britain in hopes of recovering the eagle and/or his father. As luck would have it, he is severely injured in battle and involuntarily discharged before he even embarks on that mission. After recuperating, he and a British slave who’s life he saved venture out on their own to complete the job he came to do.
The Eagle wants to position our two buddies as having an uneasy relationship. It wants us to think that the lowly slave Esca (Bell) may not be trustworthy. However, the way things play out, we never get that feeling. That’s a major issue for a movie banking on that aspect. It saps the entire production of any tension it might have had if this angle had been better executed. We never feel that our hero is in any serious danger. Even when things seem most bleak we know that his sidekick is merely biding his time.
Our hero is also problematic. Part of this is due to star Channing Tatum and part to the way his part is written. It seems the writers couldn’t make up their mind how great a soldier he is, or isn’t. The same goes for his fluctuating intelligence. He’s smart or dumb depending on what the plot requires at any given moment. It’s much the same for his soldiering skills. For instance, there’s a moment early on where the very faint sound of his enemies wakes him from a dead sleep. Presumably, his quarters are a ways from the fort wall from beyond which the noise is coming. In fact, no one standing guard on the wall itself hears anything. Initially, I’ve no problem with this. It helps establish him as a superior combatant. However, later on he can’t hear or see more enemies only a few feet away when he is on his own with Esca in the middle of the woods and should be at his most alert. It’s a frustrating about face in character. As for Tatum, I just couldn’t buy him as an Ancient Roman commander with a burning passion for recovering a symbolic bird in an effort to clear his family name. I harbor no hatred for Tatum. If you’re movie is set during contemporary times with a suburban/pseudo urban setting and your lead has to be a white guy with a solid street vibe about him, he’s your guy. As a leader of men during the sword and sandal days, not so much.
There are solid and bloody fight scenes so The Eagle isn’t a total loss. However, the dreadfully serious tone combined with a lack of tension means the movie fails to engage us. We’re not particularly enthralled with this man’s quest. Therefore, the movie trudges past on its way to the inevitable ending with precious little in the way of humor or fun.
MY SCORE: 5/10
Thursday, June 28, 2012
Tinker Tailor Soldier Spy
Directed by Tomas Alfredson.
In October of 1973, a British Intelligence operation goes terribly wrong and one of its operatives, Jim Prideaux (Strong), is shot and captured. In the aftermath, George Smiley (Oldman) is among the people forced into retirement. At about the same time, a few others are promoted to prominent postions due to them getting their hands on some high grade Soviet intelligence. Fast forward a bit and Smiley is dragged out of retirement to perform a sensitive investigation. It is suspected that one of the men who have risen through the ranks is actually a mole. This is a remake of the 1979 film which starred Alec Guinness.
Tinker Tailor Soldier Spy is indeed a spy movie through and through. However, it’s concerned with the drama of real people who are spies, not the stereotypical action heroes we’ve come to believe them all to be. The effort is placed on trying to figure out where the secret rooms are, who’s meeting there and what they’re saying, not in trying to dazzle us with our hero’s death defying feats. To this end, it sets a deliberate pace that will admittedly feel slow to some. For others, it will leisurely suck us in as we come to understand there is nothing leisurely about the situation at hand. We’ll grow more fascinated as the twists and turns mount. We may even feel we need a tour guide to help navigate the course.
This is where Gary Oldman comes in. Basically, he holds our hand through the maze. He doesn’t have all the answers but he’s darned good at looking for them. Since he is holding our hand, we can’t help but get to know him. What sticks with us most is how unhappy he seems. True, he makes Smiley a stoic chap, but that just seems to be how the man operates in his professional life. Beyond that, there is a deeper sadness to him. Obviously, part of it is because he was unceremoniously dumped when stuff hit the fan. There’s more to it than that due to some other things we find out over the course of our time with him. Even when he should be happy, he appears unsure that it’s alright to feel that way. Oldman conveys all of this perfectly in one of his most subtle portrayals.
All of the things that make TTSS wonderful can work against it, as well. As mentioned, it can drag at times. During this time, it’s possible to get a little lost. As great as the acting is there really isn’t much character development. The situation develops, the people do not. Finally, part of its charm is that it’s a period piece. Since the Cold War has been over for quite some time now, it can feel dated. Certainly, there is some relevance to today’s world but it may not be so easy to pick up. In the end, it’s an excellent spy flick that isn’t for everyone.
MY SCORE: 8/10
Monday, November 14, 2011
Green Lantern
Directed by Martin Campbell.
2011. Rated PG-13, 114 minutes.Cast:
Ryan Reynolds
Blake Lively
Mark Strong
Peter Sarsgaard
Tim Robbins
Angela Bassett
Jay O. Sanders
Temuera Morrison
Clancy Brown
Michael Clarke Duncan
Abin Sur (Morrison) is the most celebrated member of the intergalactic police force known as The Green Lanterns. When he is fatally wounded by all-powerful villain Parallax (voiced by Clancy Brown) he manages to make it to the nearest inhabited planet before perishing. Of course, that planet is Earth. Once landing, Abin Sur commands his magical ring to go forth and choose his successor in the Green Lantern corps. It chooses loose cannon, ultra sarcastic playboy test pilot Hal Jordan (Reynolds).
Shortly, Hal is whisked away to the planet Oa (pronounced like Noah, but without the ‘n’). This is HQ for all the lanterns and he’s there to get some quick training. That means he gets an explanation on how the ring works and what it does. For the uninformed, the ring can instantly form anything he thinks of. It also allows him to fly and breathe in outer space. We’re never actually told this last bit, but roll with it. Hal doubts that he’s worthy, goes back home, saves a few lives and really gets thrust into the action when Parallax comes looking to make a snack out of Earth’s inhabitants. Meanwhile, Dr. Hector Hammond (Sarsgaard) suddenly develops telepathic and telekinetic powers and goes crazy after examining Abin Sur’s body. A piece of Parallax lodged in the dead alien’s chest infects the doc. In short, Dr. Hammond becomes the tune-up villain for our hero before the big smog (Parallax) comes to Earth.
Although it’s an origin story, Green Lantern is not one of those slow movers where we have to wait an hour before the action starts. It’s a fast-paced affair that gleefully zips along in a relentless attempt to make each action sequence a bigger spectacle than the last. It seems to be trying to make you say “Ooh, he just made a machine gun! There’s a giant racetrack! Ooh, the giant cloud of dust is zapping people!” And so on. By the way, I haven’t even mentioned the steadily increasing size of Dr. Hammond’s head.
For kids and others who just want to see lots of superhero stuff, this is a fun ride. “Stuff” happens all the time. For more discerning viewers, particularly overly critical fanboys, it will be a neon green tinted mess. Sure, lots of stuff keeps happening but much of it makes little or no sense. It feels like they just keep throwing things against the wall to see what sticks. Instead of developing the story, it rushes to the next action scene. This, combined with a tone that’s way too reminiscent of the Fantastic Four movies and a hero that acts more like Robert Downey Jr.’s Tony Stark than the comic book version of Jordan gives the whole film a very cheesy feel. I’m not necessarily calling for “dark and gritty” like fanboys tend to do when criticizing the movies based on their favorite characters. However, if memory serves The Green Lantern comic books was more serious in approach. That helped offset some of the inherent silliness of a hero that forms a bunch of green things with his magic ring, has a serious problem with yellow and follows the command of a group of rather large-headed blue guys.
The silliness extends to our villain and the movie’s concept of the size of the galaxy. Creatures that can eliminate entire planets of people are difficult to translate to the screen. They gave a valiant effort but weren’t consistent with what Parallax could or couldn’t do. This is mostly a problem because he flat refuses a couple opportunities to kill our hero. Judging by the ending, our villain isn’t too bright, either. This little bit of ridiculousness involves the sun. I’ll just leave it at that. Still, in comparison to The Fantastic Four again, this movie does a better job with a similar bad guy. We get a far better representation of Parallax than the second FF flick has of Galactus. As far as the galaxy goes, I just find it funny that while no one beams anywhere like in Star Trek, anyone can get anywhere in a matter of minutes. It’s like Earth and Oa are next door neighbors.
MY SCORE: 5/10
Wednesday, November 17, 2010
Sherlock Holmes
Directed by Guy Ritchie.
2009. Rated PG-13, 128 minutes.
Cast:
Robert Downey Jr.
Jude Law
Rachel McAdams
Mark Strong
Eddie Marsan
Robert Maillet
Geraldine James
Kelly Reilly
William Houston
Plot: After being convicted of murder, Lord Blackwood (Strong) is executed. However, he apparently resurrects himself and threatens to take over the world. Super sleuth Sherlock Holmes (Downey Jr), who captured Blackwood in the first place, attempts to solve the mystery of his rising and save the day.
The Good: First and foremost, it's fun. The action scenes are well done, with top notch special fx. Massive objects go flying through the air and they actually appear dangerous, not like the green-screen wizardry we know them to be. The fight scenes are fun, as well. They're excellently choreographed and, thanks to Sherlock's pre-fight analysis, a source of humor. There's also lots of other humor. Two hours whizzes by because we're having a blast.
The Bad: It's so busy dazzling us with high-energy sequences, it never really shows us the secrets to the big mystery. Instead, Holmes just explains it all during a last minute monologue. I suppose that's to make him appear all the more brilliant, but I prefer to learn it as the hero does, not wait to be told just before the credits roll. Holmes himself is a bit of a disappointment, also. I've heard this version might be the closest to Sir Arthur Conan Doyle's original literary interpretation of the character. Unfortunately, it's also very close to the lead actor's portrayal of a very recent character. Holmes feels like Tony Stark of the Iron Man movies, only with a British accent. He's brilliant, narcissistic, arrogant, self destructive and an alcoholic wise-ass. See?
The Ugly: Don't they know midget is a politically incorrect word.
Recommendation: This is a highly entertaining romp through 19th century London. It'll definitely work for popcorn movie night. Yes, it's only popcorn fluff. Still, it's good popcorn fluff.
MY SCORE: 7/10
Sunday, November 7, 2010
Robin Hood (2010)
2010. Rated PG-13, 140 minutes.
Cast:
Russell Crowe
Cate Blanchett
Oscar Isaac
Max von Sydow
Mark Strong
William Hurt
Danny Huston
Mark Addy
Kevin Durand
Léa Seydoux
The legend of Robin Hood, here played by Russell Crowe, has survive for ages by keeping him fairly simple. He and his band of merrymen, plus Lady Marion (Blanchett), roam Sherwood Forest and steal from the rich only so that they can give to the poor. Have you ever wondered how he wound up there? Me neither. However, in Ridley Scott’s sparkingly grimy update on the character that’s precisely what we find out. Oh, if you’re vexing over the oxy-moronic “sparkingly grimy” you have to see it to understand. Dirty people have seldom looked better.
Not content to merely be about our favorite archer, we’re treated to several other storylines to fret over. Most notable is one that emphasizes the difference between King Richard the Lionheart (Huston) and his brother and eventual successor John (Isaac). This supplies us with our hero’s reason to be heroic. Of course, there is also the love story and a couple other things going on. It’s not as convoluted as it sounds. Most of them breathe well enough on their own and come together nicely.
In the lead role, Russell Crowe does what Russell Crowe does. It’s not up there with his best, but it’s solid work, nonetheless. He’s actually outdone by Cate Blanchett as his love interest. Overall, the acting is very good. You should expect no less from the excellently assembled cast. The action scenes are solid, but not spectacular and evoke memories of Braveheart. However, they don’t quite measure up.
Evoking memories is a bit of a problem for this movie. It seems to blend the aforementioned Braveheart with another Scott/Crowe collaboration: Gladiator. The main problem is there seems to be little difference between our newly crowned King John and Gladiator’s Commodus, save for that whole incest thing. Instead of becoming something grand, it turns into a rather bland epic. It’s not bad, but it isn’t likely to stick in your psyche for very long.
Despite the best efforts of Kevin Cosner and Mel Brooks, the image most of us have of Robin Hood is one of Errol Flynn practically dancing up the stairs while sword fighting with multiple henchmen. Maybe we think of Flynn swing from the chandelier or from some other moment culled from all the fantastic cheese that movie provides. All the while, he’s wearing the unmistakable bright green tight and funny mustache. Hmmm…I’d dismissed all charges of homoeroticism against the classic until I wrote this paragraph. There’s nothing wrong with that. I just had a revelatory moment, that’s all. Anyhoo, the 21st century version is a solid, but flawed effort not likely to change the reality of our perception of what Robin Hood should be.
Monday, August 23, 2010
Kick-Ass
Directed by Jane Goldman and Matthew Vaughn.
2010. Rated R, 117 minutes.
Aaron Johnson
Christopher Mintz-Plasse
Mark Strong
Chloë Grace Moretz
Nicolas Cage
Omari Hardwick
Michael Rispoli
Clark Duke
Garrett M. Brown
Dexter Fletcher
Like a lot of boys, Dave (Johnson) wonders what it would be like to be a superhero. He even carries the fantasy one step further and tries to act it out in real life. He gets his hands on a green wetsuit, names himself Kick-Ass and takes to the streets looking like a jade ninja. From there ensues a wild ride full of perfectly just over the top violence and fueled by an absolutely wicked sense of humor. It’s based on the graphic novel of the same name.
This isn’t Batman Begins so there’s no real training for superhero. Things don’t go smoothly. They go about as good as if you yourself decided to don tights and become a crimefighter. Actually, they go better because he doesn’t wind up dead within the first few minutes. Despite becoming a media sensation, he’s not a very good superhero.
Closer to the real deal, but more homicidal than most, we learn, is Hit-Girl (Moretz), a pint-sized killing machine and her father Big Daddy (Cage). Like everyone else who’s watched this movie I have high praise for Hit-Girl. She totally steals the show. We need more Hit-Girl. However, I’ve not seen anyone give Nicolas Cage his just due. I get that there’s a lot of Cage hatred out there. He’s done a lot of dreadful movies. I also understand that most of KA’s audience is too young to remember what Cage is making fun of. His parody of Adam West’s version of Batman is just dead-on and completely hilarious. Well, it’s hilarious if you have the old TV series as a reference point. If so, you’ll recognize everything he does and might laugh yourself to tears.
This brings me to my next point. KA isn’t just an action-comedy. It’s a brilliant spoof of all things superhero. It’s simultaneously reverential and irreverent. It lovingly skewers the genres of literature, television and cinema that birthed it, holding their feet to the fire even as it gives them a hug. Comic book fans will notice the subtleties that make KA special. For instance, notice the unspoken joke of our hero wearing glasses in his regular life but not when dressed as his alter-ego. What makes it great is that even if you miss those little touches you can still have a great time watching it. This is because the best spoofs use the genre they’re spoofing for inspiration, making fun of that genre’s absurdities while also working within its confines and stand alone as narratives.
In those dreadful “____ Movie” (Scary, Date, Dance, etc) flicks there appears to be no love for whatever they’re trying to parody. It’s all mean-spirited and void of creativity. They merely reenact a scene from some other movie and add something gross to it. When they’re over, you can’t really remember the story it’s trying to tell. Here, you needn’t have seen any specific movie to get most of the jokes. You only have to be familiar with a certain type of movie. This is why Young Frankenstein works for people who’ve never actually seen the original Frankenstein or Scream for people who aren’t necessarily fans of slasher movies. Kick-Ass is one of the best spoofs.
The Opposite View: Stephen Himes, Film Snobs
What the Internet Says: 8.1/10 on imdb.com (#183 all time as of 8/20/10), 76% on rottentomatoes.com, 66/100 on metacritic.com
MY SCORE: 10/10
Subscribe to:
Posts (Atom)