WELCOME TO MONTAGE!! MY PASSION FOR CINEMA.. EMBODIED IN A TINY FILM BLOG.
ENJOY!!
So.. after many connect the dot origin stories that have ranged from the distinctly average to the thoroughly entertaining, it is time for Marvel to deliver what they’ve always teased. A larger than life ’assembling’, triggering a spectacular superhuman smackdown for the ages.
For comicbook fans like myself, many of us never anticipated the medium of cinema to have the audacity to take on such an eclectic mix of characters. Director and writer Joss Whedon has always been deemed a safe pair of hands.. but has he brought his A game here?? YES is putting it mildly.. HULK SMASHING it out of the park is certainly more appropriate!
Whedon sets his expensive stall out early, with the vindictive Loki (Tom Hiddleston) crashing back down to Earth with the idea of antagonising the hot shots at S.H.I.E.L.D. HQ headed up by Nick Fury (Samuel L.Jackson) and Agent Coulson (Clark Clegg) playing on his mind. The key to his masterplan lies in the form of a glorious looking cube called The Tesseract. With the capability of consuming unlimited energy, he seeks to have it in his possession in order to command and conquer Earth.
With war declared and faith in the human race diminshed, it’s down to Fury to create the ‘Avengers Initative’ to help restore order. The team itself consisting of proud and primed Captain America (Chris Evans), the egotistical Tony Stark/ Iron Man (Robert Downey Jr), the Jekyll and Hyde esque Bruce Banner/Hulk (Mark Ruffalo), Norse thunder God Thor (Chris Hemsworth), bow and arrow lover Hawkeye (Jeremy Renner) and flexible Russian Natasha Romanov/Black Widow (Scarlett Johansson).
Considering their love for justice, you would expect our heroic collective to be on the same page straight away. But it doesn’t take long for descension in the ranks to occur..
Whedon’s handling of the material is top notch, which is hardly surprising considering ensembles are arguably his forte. The script is tightly plotted, sharp and packed with zingy quips and intertextual nods, which certainly helps the film through its lengthy exposition phase. When he’s not relying on his star studded cast’s charisma and charm to mischeviously deliver the funny, he’s neatly applying layers underneath their colourful attire. As they continue to wrestle with their own flaws and each other, it certainly aids the emotional payoff in the film’s more bombastic and pivotal moments.
Avengers Assemble certainly doesn’t skimper in this department. The blockbuster thrills are here in abundance, delivered with overwhelming enthusiasm. Special effects heavy it may be and familiar setups it may contain, but Whedon’s orchestration of the set pieces proves to be inventive and epic in scale none more so than the relentless and gung-ho finale set in Downtown Manhattan. The $200 million budget isn’t wasted.. that’s for sure!
As far as performances go, the chief concern was Ruffalo’s take on the Hulk. Ang Lee’s arty and ultimately dreary original attempt through Eric Bana and the misguided execution of the Edward Norton/Louis Leterrier led sequel left us all bemused. But third time lucky, Ruffalo sheds the ‘it’s not easy being green’ tag and perfectly embodies the initally reserved demeanour of Banner whilst bringing a sense of fun to his monstrous counterpart.
Elsewhere, Hiddleston’s Loki is devilishly played with his facial expressions being a particular delight. Hemsworth and Evans old fashioned principles juxtapose splendidly with Downey Jr’s modern day playboy antics and unparalleled wit. Johansson seems to relish her kick ass persona and her mysterious bond with newcomer Hawkeye is particularly engaging.
The flaws are thankfully minor. The Tesseract proves to be no more than a Hitchcockian style macguffin and Loki’s extra terrestrial cronies are completely devoid of personality which occasionally holds back the levels of peril somewhat.
But it’s hard to deny.. that Avengers Assemble is the epitome of pure popcorn entertainment. Pacy and exhilarating.. what Whedon has achieved here is nothing short of remarkable!
A.W.E.S.O.M.E.
P.S. Spidey and Batman.. Over to you!
Rating: ****
After almost a year since charming the socks off the Grand Jury at the Sundance Film Festival, ‘Like Crazy’ finally lands on UK shores. Director Drake Doremus making it his duty to portray the hardships of a young intimate romance shifting back and forth relentlessly between the lush sights of LA and London.. i guess Katy Perry and Russell Brand better stear clear of eating this cinematic slice!
The Transatlantic story kicks off with Brummie born Felicity Jones (Cemetery Junction) as Anna, based in LA due to college commitments. Her passion for writing may be elaborated on in her opening salvo.. but such a feeling soon finds a rival, in the form of her aspiring furniture designing classmate Jacob played by Star Trek’s Anton Yelchin. A lengthy love note of declaration on a car windshield, a comfortable wooden chair and the use of the classic scrapbook trick later, it is clear their touching relationship is prepared for the long haul.
Complications arise and reality kicks in however. Occuring through Anna daring to breach the conditions of her student visa and refused entry back into the country, it results in their love affair grinding to an emphatic halt. Seeking comforts in the words of Anna’s too school for cool but hearty parents (Alex Kingston and Oliver Muirhead) sadly doesn’t bring them solace, with attractive alternatives for Anna and Jacob introducing themselves to proceedings (Jennifer Lawrence and Charlie Bewley) adding a significant layer to their deepening angst. Will their love follow the fairytale template.. and overcome all obstacles?
Doremus’ naturalistic and intimate style of shooting providing a commendable authenticity to the film (a hand on glass separation sequence being a particularly gorgeous highlight), intertwined with the believable and engaging chemistry of Yelchin and Jones proves to be a killer combo. It’s sharp in its portrayals of jealousy and sense of longing creeping in but also.. how the younger contingent of the world get so caught up on cloud nine, they’re oblivious to how their occasionally foolish behaviour triggers the inevitable pressures and strains that come with relationships.
It may slightly get trapped in it’s limitations of the genre especially on the road to its final stages, but as the ambiguous ending proves.. ‘Like Crazy’ has depth in spades. Refreshingly honest .. anyone expecting your bog standard rom com is in for a welcome shock.
An understated gem!
Star Rating: *****
The world of cinema in recent times.. has largely shifted its focus more to pushing and harnessing the technological boundaries of its projects, with story and real substance seemingly playing second fiddle. But we may have just found a saviour or two in the form of French director Michel Hazanavicius and Harvey Weinstein, with this undeniably risky but glorious throwback to the glamorous silent era of 1920’s Hollywood. It’s colourful counterparts released during 2012, get ready to be beaten ’black and white’.. by ‘The Artist’.
The star at the centre of the captivating story is one George Valentin, played by Jean Dujardin. With his Cheshire cat grin and slick looks, he is the cream of the crop in Tinseltown with his on screen persona significantly made up of old school adventure films. A chance meeting at his latest premiere, with the beautiful Peppy Miller (Berenice Bojo) ultimately triggers a domino effect, of things going against him. Whilst trying to help her lay the foundations for a successful career and strike up a budding romance between them in the process, his career takes an unexpected nosedive.
The year 1929 signals the dawn of the ‘talkies’. Sanctioned straight away by his Kinograph Studios hotshot boss Al Zimmer (John Goodman), Valentin categorically rejects the new format and in an act of serious misjudgement, self finances a cinematic flop. This, coupled with the sad separation from his wife (Penelope Ann Miller) he is left to deal with subject of his pride being badly damaged and now has garnered the ‘washed up’ feeling, At the other end of the spectrum.. Miss Miller’s star is on the rise, but is oblivious to the mental trauma Valentin is going through.
‘The Artist’ has truly captured the visual aesthetics of a bygone era to a tee, with the genius being its simplicity. For example the playful nods to the camera, the inspired ’on sight’ gags and the remarkably polished and photographic look to proceedings really help to make the experience of seeing such a commodity in a modern day setting, truly unique.
It’s certainly not without some killer performances either. The chemistry that Dujardin and Bojo exude is infectious and the American representation doesn’t let the side down, with Goodman and James Cromwell as Valentin’s chauffeur on terrific form. But the real star of the show, is THAT performing dog.
A film that absolutely charmed my socks off and stole my heart.. A surprisingly poignant, often hilarious, thoroughly joyous treat.
Silence.. really is golden.
Compiling the best of what the world of cinema has provided me and fellow filmgoers in any year is always a daunting prospect.. 2011 for me was an exceptional year.
This list has been chopped and changed sooo many times over the last week, simply because of the incredible standard many films reached.. but i’m finally satisfied!
Brace yourselves.. Here is MY 10 of the best..
10) Rise of the Planet of The Apes
Undeniably the REAL surprise of the Summer line up, James Franco and co lead the revival of a beloved franchise involving those damn dirty apes. Critics were carving their knives frantically, expecting Rupert Wyatt’s take on the story to fail miserably, but a compelling story centred around Caesar the Ape intertwined with some stunning use of motion picture technology (WETA) made for a terrific slice of popcorn entertainment. P.S. Andy Serkis must be the most under appreciated man in Hollywood!
9) Warrior
Before my write up, i’ve seen many ‘top 10’ compilations of 2011. Safe to say, i’m astonished this film is not in many of them. It may have not set the Box Office alight on its initial release, with its depiction of MMA perhaps being too much of a leftfield sport for mainstream audiences to buy into. But there is no denying that despite ’Warrior’ finding it hard to shake off the cliche’s that normally plague the genre, it’s power lies in its heart pounding and well staged fight sequences and dynamite performances. The hardships that Tom Hardy, Joel Edgerton and Nick Nolte deal with.. you can’t help but be gripped. A real knockout!
8) Super 8
A colloboration between two of Hollywood’s big game players Steven Spielberg and J.J Abrams was always gonna be a cause for celebration.. ‘Super 8’ very much sealed that notion. Billed as Abrams’ ‘love letter’ to the sci-fi delights Spielberg served in his 80’s heyday (E.T. Close Encounters), it proved to be an affectionate but ultimately thrilling blockbuster with Abrams adopting the same strategy to his monstrous creation as he did with Cloverfield. Certainly no bad thing! The youthful charismatic cast certainly helped to bring the heart too, with Elle Fanning very much a star in the making.
7) Tinker Tailor Soldier Spy
Its delicate pacing and restraint for full blooded thrills in the style of its more adventurous counterparts Bourne and Bond helped polarise opinions on the film, but i couldn’t help but lap up this atmospheric old school take on the world of espionage. Based on the popular novel by John Le Carre, it boasted the best of British, Colin Firth, Benedict Cumberbatch.. i could go on. But Gary Oldman most notably was the real star of the show as George Smiley. Undeniably well crafted and measured, director Tomas Alfredson proved the success of his debut ‘Let The Right One In’ was certainly no fluke.
6) Melancholia
Lans Von Trier is without question one of the most controversial figures in cinema, especially in recent years. His public spoutings have drawn criticism and his last film ‘Antichrist’ sent audiences and critics alike into a sense of shock. I guess that’s what a talking fox does to you.. but thankfully in 2011, he returned with this visually goregous and unique take on the ‘end of the world’. With a career best performance from Kirsten Dunst, it really did capture the beauty and horror that we all resonate with when it comes to various life experiences. Easily his most accessible film to date!
5) Submarine
The Brits were certainly well represented this year and this was a prime example. Directed by The I.T Crowd’s Richard Ayoade, his cinematic debut ‘Submarine’ was a consistently witty and eccentric take on adolescence that wore its ‘quirky’ badge with pride. With his unconventional observations, you can’t help but be taken in by the character of Oliver Tate (Craig Roberts) as he tries to light the fuses for the rekindling of his parent’s romance and his own love life respectively. Plus it is the only film, you will see national treasure Paddy Considine as a karate kicking new age Guru.. complete with a horrific mullet!
4) Kill List
Keeping with the British theme, Ben Whateley took it upon himself to breathe new life into the hitman thriller. The result was a deeply unsettling and downright chilling experience, with a final act you just don’t see coming. Normally bit part actor Neil Maskell took the reins for once as a mentally scarred ex soldier turned contract killer undergoing an assignment initally vague in details. Random symbolism, terrific use of frenetic editing being the perfect representation of his troubled mental psyche and lashings of violence not for the faint of heart.. ‘Kill List’ is an experience that proves tough to shake off.
3) Black Swan
Darren Aronofsky has never been a man to ‘stick to the norm’ and this take on the world of ballet was the epitome of this. ‘Black Swan’ was an intoxicating and electrifying depiction of one woman’s determination to be the best, that soon turns into a overwhelming obsession. Natalie Portman scored the ‘Best Actress’ gong at the Oscars for her performance and it’s easy to see why! Her portrayal as Nina is mesmerising, whether it’s battling her jealous mother (Barbara Hershey), fighting off the advances of her seedy teacher (Vincent Cassel) and her new competition (Milas Kunis) or simply dealing with her own delve to the dark side of her nature. Riveting.. from start to finish!
2) The Tree of Life
It is a rare commodity.. that a film would be labelled as a masterpiece by many, but triggers walk outs halfway through by others. But that’s exactly what Terence Malick’s latest venture did. As you’ve probably gathered, i’m very much in the former camp! Its scattershot but complex narrative structure is very much open to interpretation, but cinema like this doesn’t come around too often. Bold, hypnotic and boasting a daring ‘origins of existence’ segment that is one of the best sequences i’ve ever seen on screen, Malick questioned ‘the meanings behind life’. With the likes of Brad Pitt and Jessica Chastain also on top form as the family orientated couple based in the 1950’s.. i was engaged right from the first frame! Stunning.
1) Drive
Out of all the films this year.. ‘Drive’ hands down was THE one that just made me go ‘WOW’.
Potentially carving out a cult classic of a character in the process, Ryan Gosling simply known as ‘The Driver’ was the enigma with the seriously cool scorpion jacket and perhaps single handedly made toothpicks cool again. I assume.. that was a deliberate reference to the ‘lone rangers’ we normally associate with Westerns.
His understated but bad ass performance as a stuntman by day, driver for hire by night is remarkable to witness. Ably supported by the always reliable love interest Carey Mulligan, with the added mean streak coming courtesy of Ron Perlman and Albert Brooks are only the mere start of the positives.
Nicolas Winding Refn behind the camera delivers an impeccably shot, neon tinted and hyper styilised throwback to 80’s LA that evokes the works of Michael Mann. His reliance on figure movements instead of dialogue, pays dividends.. none more so in that exquisite albeit bloodsoaked ’elevator’ sequence. The perfect coupling of style and substance with a killer soundtrack to boot..
That is why i name ‘Drive’ MY FILM OF 2011!!
BEST OF THE REST:
Source Code, Never Let Me Go, X Men First Class, The Fighter, Crazy Stupid Love, 50/50, The Ides of March, The Help.
YET TO SEE:
The Girl With The Dragon Tattoo, Senna, Moneyball, Contagion, The Skin I Live In, We Need To Talk About Kevin, Tyrannosaur.
STAR RATING: ****
Over his highly illustrious career as a director, Steven Spielberg has called upon some of the biggest names in the business for projects. J.J Abrams and George Lucas to name just a couple. But even by his standards, his latest takes the biscuit and every tin they’ve ever come in.
On directorial duties with him, he has Lord of The Rings and King Kong supremo Peter Jackson and on scriptwriting duties he has in place the critically praised Stephen Moffat, Edgar Wright and Joe Cornish. It is no secret that Mr Spielberg is a massive fan of the material originally seen in the iconic series by Herge and with so many big name players involved, he’s clearly desperate to get it right.
Bringing an exuberant world to life through 3D motion capture technology, we first see our ginger haired, excitable and relentless reporter TinTin (played by Billy Elliot’s Jamie Bell) alongside his trustee animal companion Snowy with his eye firmly fixed on a model ship called The Unicorn on display in a vibrant marketplace. A seemingly normal situation soon turns mysterious, when he inevitably purchases the item and he soon finds out it holds a secret that is being pursued persistently by Daniel Craigs Sakharine and his impressive moustache.
The discovery soon leads him to use every form of transport going as he travels around the globe, where the levels of danger are extremely high as he tracks down its origins. Along the way he encounters the quirky drunkard Captain Haddock (Andy Serkis) who soon joins forces with our hero and plays a substantial part in solving the mystery.
Let’s get the minor flaws out of the way. Although overall the whole look of the film is absolutely dazzling, the ‘dead behind the eyes’ look of the characters is sometimes a little unsettling. In addition, anyone expecting the in depth emotional and heartfelt moments that we normally find and associate with Spielberg’s back catalogue should be set for disappointment as its sorely lacking here. This ultimately restrains the quality of the voicework put on by the game cast that also includes Simon Pegg and Nick Frost as the Thompson double act, that bar Serkis who is on scene stealing form, are no more than competent.
Despite this resulting in the story sometimes getting a little lost in the melee, the action set pieces orchestrated especially in the second half of the film will leave you breathless. From a face off involving cranes, to a chase through Morocco, they are impeccably paced and Spielberg’s achievement of certain tracking shots that run throughout should be applauded. The excitement levels are certainly helped by John Williams’ always reliable score also.
It blatantly sets itself up for a sequel and i, for one am certainly looking forward to see what giddy heights Spielberg and co can take this new franchise. Any doubts from cynics about him losing his cinematic mojo, will surely be silenced by this! A pure family friendly feast for the senses.
