Sci-fi films often strive for originality. Contrary to what many spiteful internet fan boys claim, Hollywood is not afraid of new ideas, It just doesn't come up with them that frequently. But every so often amidst the failed attempts at being the next matrix or blade runner, there's an inception or a district 9 that makes you believe in the movie industry's commitment to quality once more. With Looper Rian Johnson manages to do something very few films ever do. It makes us think, feel and sit on the edge of our seat often all at once. The premise is not that mind boggling. Whereas other intelligent sci-fi's have convoluted plots that we try to decipher amongst the spectacle Looper sets us up with a basic idea, but an idea that deepens and grows more dimensions than the trailers suggest. To give away too much would be a crime, so its best to go in knowing the basics. Joseph Gordon Levitt plays Joe, a specialised assassin known as a Looper. These Loopers are hired for the not too taxing job of assassinating people sent from the future all tied up with a bag over their heads. They then receive payment in the form of "silver" attached to the targets back. The looper then disposes of a body that technically doesn't exist and so wont be looked for. However with the job comes a specific requirement. A looper will also have to retire himself by assassinating their future selves this is called "closing the loop". And this is where the core of our story begins, but crucially it is not the real focus of the story as it moves on. As you'll know from the trailers Joe is tasked with killing his future self (Bruce Willis) and when he fails to do so is on the run from the criminals who hired him to do so in the first place. Where the story goes from there is unexpected and in places rather dark. There are many smart little details in Johnsons phenomenal script, that really flesh out the world he has created for his film. The characters use their own lexicon and slang, they have their own type of future drugs (taken through eye drops), and some of the details regarding the time travel are inspired. Again to say too much would do the film a great disservice but its clear Johnson has an eye for both ideas and spectacle. The camera moves in such an organic involving way, each frame is so precisely positioned you know if you got the chance you wouldn't change a thing. Techinically the film cannot be faulted. The look is warm and believable, stylistically there are moments that will stay with you long after you've left the cinema (a moving and thrilling ride through 30 years in particular is very cleverly interwoven into the story structure) and the soundtrack fits exquisitely. The characters are all sympathetic and deep with multiple dimensions. Even when one character goes to do something unspeakable mid way through the film, its believable through the brilliant direction of Johnson. The cast are all superb, especially Gordon Levitt who plays a complicated character and evolves him masterfully with the aid of a screenplay that puts character in the foreground and lets the action merely be the cherry on top. Thats not to say that the action is anything less than outstanding. Looper proves that action can still be thrilling with just a few men and some guns but at the same time provides us with some fantastical comic book fantasy spectacle with a dash of surprisingly brutal violence. As the film powers towards an awe inspiring and heartbreaking conclusion we begin to realise just how involved we've become. It actually matters to us what becomes of Joe and how this stylish, smart tale will end. Perhaps its down to a great cast giving it there all. Perhaps its down to great technical wizardry, but most likely its down to the vision of Rian Johnson, who does that rare thing of proving, Hollywood can take risks.
Reviews
3 Reviews
The Amazing Spider-Man
(2012)
Spidey's triumphant return eclipses predecessors
12 August 2012
When the amazing spider-man was first announced as a reboot following the at best messy spider-man 3, the fan base opinion was severely divided. There were those who were excited by the prospect of revisiting Peter Parkers origins and thrilled by the idea of a new, more faithful approach to the characters that resembled more closely the original comics. Then there were those who were filled with doubt and dread. Cynical that the reboot would bring anything new that hadn't already been done better in Sam Ramis first film, cynical that the new film would try and appeal to a hip younger audience and would feel uncomfortable like twilight in spandex. With a sigh of relief the web heads loyal followers can rest easy however. It must be stressed that this new, fresh take on the story is A)in no way offensively teen marketed and B) actually pretty damn good. Of course we follow the same familiar plot: nerdy teenage boy with hopeless crush living with his aunt and uncle is bitten by a genetically enhanced spider and develops superpowers, uses power for own gain, power responsibility, after tragic event becomes a hero blah blah blah you know the rest. However you cant blame the film makers for this, spider-mans origins are an integral part to who he is and are therefore impossible to change, but kudos should go to Marc Webb for at least telling these events in a way that feels new (Peters first experiences with his spidey sense for example is humorous and inventive as is a scene in which Peter tries to get to grips with his new found strength). What's more important anyway than what we've seen before is whats new. Gwen Stacey makes a MUCH more charismatic love interest than Mary Jane, shes funny, likable and does more than just whine at Peter and then scream when she needs help for the whole running time. Emma Stone has made Gwen Stacey into a character that you understand Peters affection for aiding your emotional investment when things all go wrong. Its a strange point to make but its true, for perhaps the first time the love sub plot in a comic book movie is not only entertaining but its in places rather emotional and effective. Marc Webb manages to tell a more human real love story as the sub plot to his blockbuster than most Rom-coms (or certain vampire films) do. The rest of the cast are also likable and believable all round, Martin Sheen is a funny charming uncle Ben. Ryhs Ifans is a sympathetic but enjoyable villain as the lizard. Even Chris Zylka as Flash Thompson gets a bit more 3 dimensional in one notable scene. but of course the focus here is and always should have been on Andrew Garfield. Here is the films biggest strength. It needs to be said that Garfield truly wipes away all memory of Tobey Maguire and that also he may be one of the most if not the most, perfectly cast lead in a superhero blockbuster. Forget Bales threatening moody batman or Downey Jr's funny witty iron man, Garfields Peter is lovable, funny, heroic, believable and simply is the spider-man the comics portray. He has the perfect physicality to the part, has impeccable delivery with both emotional dialogue and humorous banter. He caries the film from good to triumphant so when the great powerful moments come with James Horners (excellent) score blasting in the background you really feel engaged and thrilled. Outside of casting, the special effects are all seamless (ignoring a couple of cartoonish shots of the lizard) and some of the stunts spectacular. Its a shame then that non of these individual parts add up to any amazing set pieces or action scenes. The battles between spidey and the lizard are entertaining and engaging but never thrilling. There's nothing too special here in the action department. The films most memorable fight (a frantic battle between the lizard and spidey in the school) is fun but not jaw dropping, although it does feature Stan Lees greatest cameo yet. Thats not to say the film is not visually impressive. Marc Webb has brought style that Sam Rami's more cartoonish camp siderman films simply could not dream of. The city lights blur in th night as spidey glides elegantly through the air, the lighting in one sewer based moment is exquisite as a web structure is constructed before is gracefully and beautifully with soft almost magical fairytale esque music accompanying it, and Marc Webbs first person swinging shots are, whilst videogamey, very dynamic. But the true quality of Sonys spider-man reboot isn't really in the fantastical scenes, its in the more personal, heart warming scenes which is wear the film incidentally is light years beyond the whinny irritating emotionality of the first series more intimate moments (See any scene with Mary Jane). This time round things happen on a smaller scale to effect Peters life and we genuinely care. We care about his relationship with aunt May, we care about him trying to maintain peace Gwens farther despite saying all the wrong things, and most of all we care about him and Gwen. Sure the villain may not be as threatening as many of Batman's more memorable foes (although the lizard does have a believable sympathetic story to go with his human alter ego), sure the actions never up there with spider-man 2's train sequence or the dark knights bat pod tunnel chase and sure many scenes feel familiar and (very rarely) weaker than they were in the past films. But overall the amazing spider-man is more emotional, more charming, more believable and more stylish than many of its genre. Doubters, you can put your fears to rest now.
The Dark Knight Rises
(2012)
A satisfying conclusion to thrilling trilogy
30 July 2012
Christopher Nolan has continuously provided us with intelligent, mature and original material with his blockbuster film-making, and after the dark knight and inceptions it was likely the dark knight rises would never truly live up to the monumental expectations placed upon its shoulders. The dark knight was a rare specimen, a comic book film that reflected modern society and raised deep questions in a way that never felt preachy or forced. The film was celebrated universally and went down with immense critical acclaim. Thus The dark knight rises has a lot to live up to. Not only does it have to compete with two modern greats in Christopher Nolan's previous batman films, but it also has to compete with Nolans more recent offering inception. The good news is, whether you think this matches the brilliance of begins, the thrills of the dark knight, or the professionalism of inception, TDKR does bring a satisfying conclusion the dark knight legend. The film is full of the intelligence and maturity you'd expect although it has to be said it never goes quite as dark as you might hope. Nolan once again has created a blockbuster that assumes the audience is as intelligent as he is, rather than patronising them and treating them like children who have only come to be dazzled by explosions and fist fights. Having said that when Nolan does bring in the pyrotechnics and the brawls they are stunning. High points include a jaw droppingly brutal fight between Bane and our hero mid way through the film where you can feel every single punch, and Banes escape from captivity in a plane that is unlike anything you've ever seen before. As usual the cast is all on top form. Bale brings us his most tragic and underplayed performance yet as a broken man following the events of the dark knight, Michael Cane provides reliable support as the true beating heart of the film in its more subtle small moments, Morgan Freeman injects some small humour in the film to counter act the sometimes overwhelming seriousness of the story, whilst Joseph Gordan Levitt proves to be a welcome presence as a newcomer to the trilogy. Other newcomers perhaps are not as impressive. Marion Cotillard's Miranda is a fairly uninteresting addition to the characters inhabiting Gotham, whilst Anne Hathaway amounts to little more than a waste of space, not that there's anything wrong with her performance, its just we'd gladly lose some time with her in favour of more time with Batman or our villain. Which brings us to Bane. You have to feel sorry for anyone following in the footsteps of Heath Ledgers unforgettable Joker, yet Tom Hardy proves he is more than up to the job as the hulking threatening legitimately believe Bane, who unlike previous incarnations of his character has real method, psychology and ideas behind his mask. The controversy over Banes verbal clarity has divided opinion but you will at least be able to make out most of his dialogue if not all of it and even if you don't, Hardy's physicality and facial expressions more than compensate in letting you know what the intelligent brute is thinking at all times. Bane allows us to really see Batman pushed to his physical limits as he faces an opponent stronger than ever before and as Batman is pushed to his physical limits he also pushed closer to his psychological limits too. Outside of the cast we have a visually stunning film, with brilliant cinema-photography, visual effects, and a brilliant (as usual) accompaniment from Hanz Zimmers score. The pacing of the film drags in places (particularily in an overlong 2nd act) but there's always a stunning moment just around the corner to inject life back into the narrative. And by the time the credits roll you really feel like you've not been cheated and have come to a dramatic conclusion to the batman story. The magnificent screenplay allows us to know then end is just around the corner (as Selina Kyle says "Theres a storm coming") and when it arrives it does so marvellously. The Dark Knight rises, may not be perfect. It has its pacing problems, too many characters, and a surprising lack of batman. But it more than makes up for all its flaws through its stunning set pieces, touching emotion, intelligent themes, and overall sense of event and power. Nolan has once again (and for the last time) delivered a batman film with true heart, brains, and excitement. Lets see what he does next
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