Review: Free Fire (2016/17)

Posted on April 28, 2017 by Sam S-P
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Is this an arms deal or a fashion show?: Film4/Protagonist Pictures

Does Ben Wheatley ever sleep? Over the past eight years the British polymath has produced kitchen sink drama, folk horror, black comedy, Avant-garde, period-sci-fi-satire and DOCTOR WHO. He never does the same project twice and tends to mix it up in terms of his style and collaborators (writing partner Amy Jump and good luck charm Michael Smiley aside). Judging by FREE FIRE, Wheatley isn’t done with trying out ideas yet, though it’s unfortunately his least interesting film so far.

Various shady types arrange an arms deal in a deserted warehouse in Boston. Things do not go according to plan and before they know it everyone is fighting for their lives as well as their money.

Considering the painstaking purpose-building of a vast Boston warehouse on the outskirts of Brighton, the geography of the action gets jumbled pretty quickly. It’s a good job the characters are dressed in every shade of the 70s or might be even more difficult to work out who is who through the dust. Wheatley captures the hectic panic of a shootout, but I’m not convinced he’s a born action director. The editing is a bit bewildering and the shootout, aside from the timely unleashing of flying gas canisters, pretty bog-standard. That’s fine, by the way – he’s plenty skilled at other styles.

I liked that nobody in this world is a good shot and pretty soon it’s a case of everyone dragging themselves around being winged by ricocheting bullets. Sharlto Copley does his quirky nutjob thing as a disco arms dealer, but it is Sam Riley as a volatile junkie and Armie Hammer as an anachronistic hipster who steal the show. You really have to feel sorry for Michael Smiley, who is so loyal to Wheatley but who spends most of the film splayed on his back and slowly lurching around the battlefield as his character becomes more maimed. You’ve got to hope the cast gelled and had fun making this, because they sure spent a lot of time lying in the dirt.

The film falters not because it’s mostly action, and not because it doesn’t have much in the way of plot. MAD MAX: FURY ROAD was mostly highly destructive car chase, but it maintained momentum with vivid characters whose arcs were explored through actions rather than words. RESERVOIR DOGS, which Free Fire has been compared to repeatedly, jettisoned the plot after the opening sequence with no negative effect on the arcs or the memorability of Mr Pink and co, so I’d have to suggest that it’s the characters in Free Fire that ultimately let it down. To be honest I’m having a tough time remembering any of their names (accept for Ord, because who’d forget that?).

The most interesting elements in the film are the moments of relative quiet, the banter and quips that start off cocky and become more desperate and clumsy as the chaos progresses and the wounded become more so. Little moments, reactions to bizarre turns in the battle (Brie Larson’s eye-roll at Copley’s macho posturing behind his back and another character’s comment, again to Copley in the latter, more desperate stages of the battle, “Hey, I like your cardboard armour!”) and snippets of half-heard, overlapping bickering make the film. The “resolution” of the shootout has a character slumped against a colourful wall advert and fruitlessly attempting to unfurl the skeleton of an umbrella as the warehouse’s emergency sprinkler system kicks in – a beautiful summing up of the escalating and ultimately stupid and pointless events we’ve witnessed. This moment will stay with me, as will some of the one-liners, but this mad gun-toting group likely won’t. SSP

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5 Years On: The Avengers (2012)

Posted on April 26, 2017 by Sam S-P
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Team photo: Marvel Studios/Paramount

In 2012 it finally arrived – the blockbuster to end all blockbusters (as if). There was so much riding on THE AVENGERS, so many moving parts and so many things that could have gone wrong. Thankfully they didn’t, and it turned out to be rather good. Did it change mega-budget filmmaking? In a way. Does it still hold up? Let’s examine that further.

When an alien army invades Earth, the world’s mightiest heroes must put aside  their differences, unite and defeat an unprecedented threat they would never be able to overcome in their own.

Over four years between 2008-12, Marvel delivered a series of mostly underwhelming origin films that seemed to spend as much time setting up The Avengers as they did introducing the hero on their own poster. This is arguably the most irritating trend that has hung around since The Avengers; studios yearning for a piece of Marvel’s pie and rather than steadily world-building over time and multiple movies, brute-forcing franchises into messy shared universes or spending more time setting up what is to come than telling the story at hand. Sony tried it and fell flat on their face. Warner Bros have clumsily rushed it through and eclipsed the hero who was meant to be at the centre of it all. Even GHOSTBUSTERS and TRANSFORMERS universes have been mooted for no justifiable reason.

Incredibly, Joss Whedon managed to marshall all the Marvel big-hitters, played by some seriously big personalities (Robert Downey Jr, Samuel L Jackson and Chris Hemsworth’s biceps alone are competition enough for screentime) and somehow make the result work as one coherent film. The highlight of the impressive ensemble is unquestionably Mark Ruffalo, playing the latest incarnation of Bruce Banner/The Hulk (though he’s the first actor to truly play both sides of the character with the assistance of motion-capture). Whedon appears to truly understand and love the character, and Ruffalo is able to effectively communicate to the viewer through a sensitive and understated performance the extreme fear, paranoia and depression of Banner, and by really letting rip in his mo-cap suit he demonstrates the volatility and terrifying power of “the other guy”. Robert Downey, Jr.’s wisecracking playboy Tony Stark/Iron Man gets all of Whedon’s best lines – my personal favourite being when Stark is trying to reign in the furious new arrival Thor and mocks his flowing red cloak with “doth your mother know you weareth her drapes?”. Scarlett Johansson also holds her own in a largely testosterone-fuelled cast, and manages to develop Natasha Romanoff/Black Widow from the stereotypical sexy femme fatale we saw in IRON MAN 2 to a fully-rounded, deadly and viciously intelligent character tormented by her violent past that we see here.

The final act showed the pinacle of superhero action of the time; with the six heroes working together to defend Manhattan from an alien invasion lead by the increasingly manic Asgardian exile Loki (Tom Hiddleston). In one particularly slick and visually eye-popping moment the camera snakes its way through the city and in one unbroken shot takes in each of the Avengers in turn working as a team to repel the invaders. I will say that the film is largely responsible for Marvel’s tendency to end their films with a battle in either a city, the sky, or both, and also influenced other studios to end their films with 45 minutes + of action monotony, but this was hugely enjoyable the first time round.

The most rewarding and enjoyable moments for me were the more intimate encounters, particularly a fine early scene which has Black Widow traveling to Calcutta to retrieve and recruit a reclusive Banner, and the on-edge scientist feigns a transformation into his greener side to test Romanoff’s true intentions. I also loved Black Widow’s interrogation of Loki before the mid-film set piece – the scene gives Johansson and Hiddleston plenty of room to play off each other and it’s intelligently scripted, brilliantly tense and beautifully performed by the actors, resulting in an incredibly revealing moment for both of their characters.

The Avengers is exactly what a great blockbuster should be – grounded enough to be relevant and dramatically effective in the contemporary world (with references to worldwide energy shortages, WMDs and the terrifying future of warfare) but also fantastical enough to be fun, and to provide a level of escapism for the audience. I must admit, the film does lose momentum here and there, and there are some incredibly convenient plot devices employed to get the heroes together, but you can’t really hold these minor gripes against a filmmaker like Whedon. This is a man who achieved the impossible in making Marvel’s crowning glory worthy of the time and effort dedicated to laying its groundwork over the last half-decade, and with the addition of his trademark playful sense of humour, the film doesn’t look like it’s taking itself too seriously, which could have been fatal. Awesome is a criminally misapplied adjective in this day and age, but there really is no better way to describe this super-powered extravaganza. SSP

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Review in Brief: Moana (2016)

Posted on April 25, 2017 by Sam S-P

MOANA is colourful, energetic and heartfelt, and enriches its world with Polynesian cultural influences in a far less patronising manner than was attempted in POCAHONTAS with Native American folklore. It’s also very safe in its storytelling, falling back on Disney tropes – “I want” song; mismatched duo bickering on a quest; royal parents forcing destiny on their children – that have been worn down to the grain. Aside from the catchy tunes (“How Far I’ll Go” will burrow into your brain), the film is most worth recommending for being endearingly aware of what it is, with Maui (Dwayne Johnson) commenting much to Moana’s (Auli’i Cravalho) chagrin that, “If you ware a dress and have an animal sidekick, you’re a princess”. Said animal sidekick this time is a mentally ill chicken inexplicably voiced by Alan Tudyk, one of the many oddities on offer which include diminutive coconut-wearing pirates and a bling-encrusted crab (Jemaine Clement) who performs like the lovechild of David Bowie and Dr Frank-N-Furter. SSP

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Review in Brief: When Marnie Was There (2016)

Posted on April 20, 2017 by Sam S-P

WHEN MARNIE WAS THERE works so well on multiple emotional levels, and can be read in a number of ways. One of those ways is a little creepy, but I think I we’ll skip that. Anna (Sara Takatsuki) is a low-key but compelling protagonist, a champion for all of us who feel more comfortable in their own company, who overcomes her doubts and hangups searching for fulfillment, ironically as she discovers her connection to the tragedy of others. The fantasy elements are underplayed, but the unconventional portrayal of time, memory and the near-supernatural power of love marks this story out. Ghibli animations never feel like they’re in a rush, but this goes doubly so for Marnie. It’s tentative, thoughtful and searching for the perfect beautiful image to capture, much like the film’s anxious and creative protagonist. Studio Ghibli certainly didn’t tail off in quality as it approached its indefinite hiatus, this and THE WIND RISES being amongst their most complex and beautiful work. SSP

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30 Years On: Withnail and I (1987)

Posted on April 19, 2017 by Sam S-P
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Just you try and fight the schadenfreude: Cineplex-Odeon Films/HandMade Films

There are few films out there that will make me laugh myself to tears every time I watch them. Monty Python does, as does Mel Brooks, but as I’ve mentioned before, I also have to add the gem that is WITHNAIL & I to the list. Now celebrating its 30th birthday, this very British ode to being stuck in a rut is just as entrancing as ever.

Two out of work actors (Richard E Grant and Paul McGann) escape their moldy student digs and head off to the Lake District for the weekend. Cue rain, scary locals and an even scarier predatory thespian to spoil their holiday and make Withnail and his flatmate long for unemployment. 

The film is just so quotable, from Withnail’s pathetic, soaked-through plea to a farmer, “We’ve gone on holiday by mistake” to again Withnail’s alarmed explanation, “Monty you terrible c**t!” and Withnail once more’s “Fork it!”. Grant’s Withnail may get all the best lines, but “I” (now widely known to be called Marwood in the script) is fixed as the passionate, beating heart of the story by McGann, an underrated low-key performer who proves himself here by not being overshadowed by the manic Withnail (as a pair they make for astounding feature debuts). It’s Marwood’s story, his struggle to re-start his life and move on despite the best (or should that be worst) efforts of his best friend.

The film is a tonal masterpiece. Much of the humour relies on humanity’s tendency towards schadenfreude. We’ve all had terrible holidays like the one that Withnail and Marwood endure (hopefully few city folk have been forced to improvise how to prepare a still-clucking chicken for the oven) and we’ve all had times in our life where nothing is going right. I’m not sure the same goes in the USA and elsewhere, but in Europe and especially the British Isles there is an innate pleasure in seeing people in worse situations than ourselves. This isn’t out of meanness or lack of compassion, it’s more an unconscious thing and goes with our self-deprecating nature. It’s not quite dark enough to be dubbed black comedy, but the jokes go through various shades of brown and grey just like the pair’s holiday.

The ending is tragic but bittersweet, with Marwood shorn of his student locks and catching the next train to his future, Withnail desperate to stop him, or at the very least see him off in style. He ends up walking Marwood, in the pouring rain, swigging wine from the bottle as they go. Withnail is left alone giving a grandstanding monologue to zoo animals, perhaps the finest performance he will ever give to the biggest audience he will ever perform to. We’re pleased that Marwood got his chance and heartbroken for Withnail, who will more than likely continue doing what he is doing, never escaping his eternal rut. He’s one of the most counter-intuitively likeable prigs in film history.

The film stock may be grainy as it always was, the scenery and the clothes drab (ditto) and it may not have made a particularly big splash outside the UK, but Withnail & I still hits hard and gives me so much joy. I remember showing it to the student film club at university and it bringing much mirth to a room full of students taking life as it came (I wonder if we saw parallels?). If you haven’t seen this quietly philosophical, witty and damp romp yet, what are you waiting for? SSP

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Review in Brief: Eye in the Sky (2016)

Posted on April 18, 2017 by Sam S-P

It might be about as subtle as an airstrike, but drone warfare thriller EYE IN THE SKY fields an interesting debate. Just how far can you push “For the greater good”? In the moment, if you could save more lives, how many would you be willing to sacrifice? Under immense pressure, would you make the wrong decision? The stunt-casting of Helen Mirren (who is very good) and to a lesser extent the late Alan Rickman (who is sadly only OK), is distracting and the film perhaps relies a little too much on stereotypes for story purposes. But Gavin Hood’s film (easily his best since his South African breakthrough TSOTSI) is having a difficult conversation and never pushing the argument outside a morally grey area. The thought that some of the most significant actions in warfare can be run out of a shed on the other side of the world is a chilling one indeed, and presented in this manner it is nerve-shredding, captivating stuff. SSP

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Review: The Host (2006)

Posted on April 12, 2017 by Sam S-P
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I only came to feed the ducks: Showbox Entertainment/Chungeorahm Film

To shamelessly appropriate and warp the catchphrase of a beloved cartoon character, THE HOST is smarter than the average monster movie. I stumbled on this one on DVD years back, and it’s since become a firm favourite along with the rest of genre auteur Bong Joon-ho’s oeuvre. My affection for the film is not for the monster, as good as it is, but because of the very odd but very real family’s quest for healing and their need to stay together.

When a monster emerges from the Han river and takes their youngest member, the Park family must stop squabbling long enough to find it and bring their dysfunctional unit together again. But the Korean government and some shady American scientists are up to something and lock down Seoul to prevent unwanted snooping…

As is common with monster movies from GODZILLA onwards, the creature itself (in this case a newt-dolphin-garbage crusher thing) is not the biggest threat to our heroes, rather it stands in for a greater evil of society: this time it’s the corruption of the Korean state-run institutions and the morally questionable invasive interference by the USA in Korean affairs.

Writer/director Bong not only made The Host a smart and entertaining thriller, but a tender family drama and a rip-roaring comedy. The hilariously dysfunctional Park family are all great characters, and you can really empathise with their plight as they frantically search for their youngest, Hyun-seo (Ko Ah-sung) who has been taken by the monster. Song Kang-ho makes a compelling central protagonist, and makes the perpetually napping failure Gang-doo a comical but tragic reluctant hero, and he is reunited with fellow regular Bong Joon-ho collaborators Byeon Hee-bong, Park Hae-il and Bae Doona playing the rest of the constantly bickering Park family. Their squabbles and ever-increasing desperation in failing to find Hyun-seo, though undeniably poignant, also provide plenty of opportunity for humour.

Bong is a true master of black comedy, extremely skilled at getting a laugh out of the most unexpected situation. Take the scene where the Parks gather around the shrine for the dead and missing post-monster attack. In most films, this scene would be a solemn one, but here Bong uses the family’s extreme reaction to their plight, the unanimous blame of Gang-doo for the accidental loss of his daughter, and the insults the family can’t resist trading with each other for their various shortcomings (“Look Hyun-seo, your aunt brought you a bronze medal!”) to provide the funniest moment of the film. It’s a perfect balance of tone, of the dark and the light, of tragedy and comedy as the Park family clumsily grapple with each other in their hysteria and collapse, wailing on the floor in a wailing heap.

The more restrained, emotionally raw moments in the film are nuanced and affecting, particularly the lip-wobbling moment when the family patriarch Hee-bong finally opens up to his children and confesses how much he truly cares for his eldest son Gang-doo while said son is apparently fast asleep. The action works well on its own terms too with the CGI holding up remarkably well considering the film’s modest budget, and every set piece driven first and foremost by where the characters find themselves in their respective arcs.

Bong Joon-ho continually pushes boundaries and challenges genre filmmaking conventions, but never loses sight of what really matters – character, above all else. You’d have to be a complete moron to dismiss The Host as just another dumb creature feature. It’s sharp and layered, grounded and very much about this world and real human experiences despite its sci-fi trappings. I’m so grateful for this film introducing me to Bong’s filmography. I wrote my university dissertation on the way he views Korean society through his work, and he has become one of my favourite filmmakers since. SSP

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Review: Ghost in the Shell (2017)

Posted on April 9, 2017 by Sam S-P
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Major bummer: Dreamworks/Arad Productions

Out of the two unnecessary live-action remakes released this month, I’ll take the one with some evident passion behind it. Mamoru Oshii’s anime GHOST IN THE SHELL worked because it allowed you time to think. For every iconic image, brutally stylish act of violence or grim neon cityscape, it gave the plot room to breathe and the themes time to sink in, with every scene saying something important. Evidently, something was lost in translation.

The Major (Scarlett Johansson), an almost entirely cybernetic member of elite police force Section 9, hunts a hacker intent on bringing down corporations and governments. As she follows her target’s trail of destruction, she delves into her own mysterious past and unearths some shocking truths…

In comparison with Oshii’s animated world which was full of telling details, striking world-building with its own weight and presence, Rupert Sanders’ version of this story is a haze of second-hand images, all contained within an ugly and cheap-looking fake city. The shots of the Major surveying the metropolis from on high look like she’s been pasted into badly reproduced stills from the anime, and the action has no rhythm or artistry, rushing by in a blur of bullets (hitting notably more androids than people, because this had to be suitable for the pre-teens who would never bother to see it) and the 3D, with too much movement within the frame and rapid-fire editing in the action, which made my eyes sore. The only memorable images here are those lifted wholesale from the anime – the reservoir brawl, the Major scuba-diving and contemplating her reflection as she rises to the surface, the rubble-strewn spider-tank battle – and these all had far more impact hand-drawn.

The sound is pretty disappointing too. Compare the spiritual atmosphere of the original’s drums, cymbals and choir singing in ancient Japanese with the generic electro sonic durge here. Like a lot of the film, there’s just no personality to it. This film even has the cheek to accompany its end titles with the main theme from Kenji Kawai’s original score, bringing just how short the new soundtrack falls into sharp relief.

It doesn’t matter how many times the filmmakers watched the original Ghost in the Shell or its sequel; nobody involved in this project, from director Sanders to the three credited writers and Johansson, got the source material. The anime was about losing your humanity through steady replacing of body parts and upgrading of our physical forms, making us more resilient and more vulnerable in equal measure as a species. This remake is about shady corporate types putting a human brain in a robot to make her…better…at…roboting?

I wasn’t overly offended by the controversial casting at first (it was a big missed opportunity, but sadly nobody was going to finance this if it wasn’t in English and with a Hollywood name attached) but then I saw how they incorporated this decision within the film’s plot. Without spoiling the film’s (admittedly terrible) twist, they actually try and ligitimise whitewashing through literalisation. Elsewhere the cast are unable to make an impact in any way unless they’re Takeshi Kitano, and he’s only good because he’s playing the same character he’s played for the last 25 years. Also, is it just me or does it look suspiciously like Kitano was inserted into his scenes afterwards? He rarely interacts directly with the others (certainly not in the same shot) and his role mostly amounts to delivering orders in Japanese over “mind-com” and characters in different locations reacting to them. If he was on set with everyone else, he clearly wasn’t having much fun, and if he was in a room by himself, then no wonder he looks so disinterested.

The film isn’t devoid of ideas, with prostitutes on street corners displaying holographic signs of their profession hovering over their heads like a sordid video game side quest, and dealers offering you black market cybernetic upgrades down shady alleyways, but even these can be hard to pick out in this jumble. The remake of Ghost in the Shell is a mess that shouldn’t even be allowed to share the title, and the first complete disaster at the multiplex in 2017. SSP

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Review in Brief: I Don’t Feel at Home in This World Anymore (2017)

Posted on April 6, 2017 by Sam S-P

I think the best thing I can say about Macon Blair’s debut as writer-director is that it’s a curiosity. For years he’s been a game regular as an actor in grisly genre fare (collaborations with Jeremy Saulnier stand out) and now he helms a story about a serious overreaction to a burglary. Melanie Lynskey (still amazing two decades after HEAVENLY CREATURES) is our grounded but increasingly disturbed protagonist and Elijah Wood gives good weirdo. While I’ve got no problem with the premise or the central performances the tone of the thing that’s the problem, with the supposedly sinister villains coming across as cartoony and a refreshingly shambolic shootout scene at the end quickly giving way to an unnecessary chase and a muddy (or swampy if we’re being literal) conclusion. As a show of Blair’s artistic potential, I DON’T FEEL AT HOME IN THIS WORLD ANYMORE is admirable and pretty unique, but as a fully satisfying finished film, I’m not so sure.

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Review: Legion: Season 1 (2017)

Posted on April 5, 2017 by Sam S-P
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You’re a mutant, David: 20th Century Fox Television/26 Keys Productions

LEGION is bonkers and brilliant. If you were ever disappointed that Chris Claremont’s more out-there comic book stories weren’t adapted into the movies, look no further than this TV show to correct that. Although they still don’t go to space, sadly.

Following a strange accident, paranoid schizophrenic David Haller (Dan Stevens) is rescued from a mental hospital by a team of human mutants on the run from the government. David is diagnosed as a powerful psychic and is trained by his new friends to control his powers come to terms with his past. But there is something else sharing David’s mind, and too much poking around in his memories unleashes it…

“What if your problems aren’t just in your head? What if they’re not even problems?” The X-Men comics and movies have always been used to comment on prejudice. Civil Rights in the 60s comics, religious fundamentalism in the 80s and homophobia in Bryan Singer’s movies. Legion is a damning indictment of how we treat the mentally ill, particularly in institutionalised settings.

It’s a beautiful looking show with pristine surfaces reflecting tormented characters back at themselves and meticulous shot construction (notably in the pilot as an accomplished extended tracking shot follows various shady characters going about their business on multiple levels of an abandoned swimming pool). Telekinesis manifests as a far more interesting visual than in any of the X-Men movies as a swirling vortex of food and kitchenware surrounds David as a representation of his uncontrollable power, and later another character calmly conducts his powers as he would an orchestra to shield his allies from attack.

It’s a wonderfully weird show as well, featuring Lynchian hallucination scenes, disappearing doors, dance numbers and body-swapping (that’s all just in the first episode, though the dancing comes back on multiple occasions and it’s wonderful). As is natural for a show about fractured psyches, keeping track of what is really happening is a constantly shifting puzzle box. Following FARGO Season 2, unreliable narration seems to be a specialty of show runner Noah Hawley.

Chapter 6 has the characters trapped in a psychic spider’s web, reliving a world that’s “the same but different” to give the villain a proper set up. The next chapter covers the escape from that nightmare by navigating the labyrinth of David’s dangerously troubled mind. Our heroes conquer hallucinations (cue neat monochrome to represent reality), step in and out of and around time streams and David communes with his inexplicably British-accented rational mind to solve the mystery of his being (with the help of wonderful animated chalk drawings).

This is one of the most compelling ensembles in years, featuring an assembly of character actors and Hawley’s FARGO alums. The performances, the ways the cast play their powers and their torment works wonders. “Everyone keeps saying I’m sane, what if they’re wrong?” The way Stevens plays David, the answer seems increasingly likely somewhere in-between. He’s unstable, he intentionally distorts his own memories as he tries to shake off a malicious psychic parasite (portrayed by an actor who I won’t spoil). Having one character be a “dream artist” and another who takes on the powers and appearance of anyone she makes skin contact with, some trippy storytelling possibilities open up (see above).

Legion isn’t just a glossy superhero fever-dream, it’s a story that challenges how society views mental illness. Once we truly accept every facet of what makes us us, we can move forward with our lives. It’s not avoiding difficulty of living with mental health problems, or claiming that more serious cases aren’t a danger to themselves and others, but advocating that only acceptance of self and others can we be whole as a species. That is, those affected are able to find happiness with the help, support and understanding of loved ones, and once we defeat our demons (literal or otherwise). What a fine message for an out-there TV psycho-thriller. SSP

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