Tag Archives: Guy Pearce

Iron Man 3 {Film Review}

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This movie couldn’t have any more weight on its shoulders. Not only would it start of blockbuster season of 2013 but will have to follow from The Avengers. That’s a huge task to tackle but Marvel hired Shane Black, writer/director of action films such as Lethal Weapon, The Last Boy Scout and his directorial debut Kiss Kiss Bang Bang. Black seems more of a natural filmmaker than Jon Favreau (if you have seen Bang Bang, you will know that Black and Downey Jr. are a match made perfect). This film is essentially what you’d expect from an Iron Man movie and that entirely depends whether you see it as a good thing or bad thing.

 

Robert Downey Jr. continues to bring such charisma to Tony Stark, he really does make this movie work in terms on rooting for the protagonist. Stark is dealing with a personal issue; since his near death experience in The Avengers, he’s been having post traumatic stress (reference to our feelings after 9/11, even Stark says “hasn’t been the same since New York”). It’s an interesting factor that weighs on Tony Stark’s shoulders, almost identical to his alcoholism in the comics (which I thought it would lead up to it). Though the tone and the way they treat Tony’s PTS is very bi-polar; they bring it up like this will affect him and bring him down, but it then it gets treated as a comedy later in the film and doesn’t really get resolved or goes nowhere. Gwenyth Paltrow finally gets to do something useful as Pepper Potts, she’s essentially the sensible one out of the cast (whether you see that as a positive as a female character or a joy kill for Tony Stark). The rest of the characters are serviceable, Don Cheadle is basically Tony Stark’s Murtaugh (which Shane Black writes brilliantly with Stark and Rhodes) but Rebecca Hall’s character feels more of a plot device than a supporting character. There is not much I can say before ruining the surprise twist but if you have seen the film, you know what I’m talking about. I won’t say much about it but I will say I did not see it coming and I thought it was an interesting twist that was refreshing (though I won’t be surprised that a lot comic book/Iron Man fans will feel the character has been treated in a disrespectful way).

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The film does contain great set-pieces, especially with the mid-air rescue with Iron Man and Air Force One crew. The final climactic battle scene with the Iron Man suits is really fun to watch and really interesting to see the different type of Iron Man suits Stark had created. Though it’s almost interesting to see what Pacific Rim will be able to deliver in terms of men in iron suits. I was very impressed how much Marvel Studios allowed to have Tony out of his suit for the majority of the running time (same as I was impressed with The Dark Knight Rises on having Bruce Wayne not wear the Bat-suit a lot). It actually showed Tony still being the genius he is on being able to do what he does best without the suit (as Obediah Stane said in Iron Man to scientist having trouble replicating one of Tony Stark’s creations; “TONY STARK WAS ABLE TO BUILD THIS IN A CAVE WITH A BOX OF SCRAPS!”).

 

Although the film doesn’t really soar to the skies as it really just goes on autopilot for the most part. The villains in the Iron Man movies haven’t really been memorable and the villain’s motive in this movie is just being power hungry. Granted Tony Stark finally is given a worthy adversary that isn’t another man in an iron suit (a huge disappointment in Iron Man 2 and a waste of Mickey Rourke’s talent). It doesn’t detract the quality of the movie but there are plenty of other comic book movies that you can compare and they don’t add anything new or interesting to separate itself from the others. Another thing that makes the movie fall apart (almost) is Tony Stark’s thinking has gone backwards after The Avengers; he decides to respond to The Mandarin’s video threats by threatening him and also giving out his home address. Though he is still surprised when The Mandarin does respond by sending attack helicopters to destroy his home and doesn’t have any back-up plan (something you’d think Tony would have been prepared for, as Jarvis mentioned that he has been awake for 72 hours).

 

Overall; a fun sequel to Iron Man and a good start to 2013 blockbuster season. Light-years better than Iron Man 2 but still think Joss Whedon did a better job on writing Tony Stark/Iron Man in The Avengers. Robert Downey Jr. does what he does best and the rest of the cast are having fun with their roles. Shane Black does deliver wit but also the spectacle. It’s a shame it’s just a decent blockbuster than a great one. Your turn Man of Steel!

 

3 out of 5

 

p.s. Stay after the closing credits (but you already knew that, right?)

 

Prometheus {Film Review}

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*WARNING! MAY CONTAIN SPOILERS*

 

It has been nearly 33 years since Ridley Scott came to the spot-light and scared audiences worldwide with Alien (1979). It was a science fiction/horror film that felt real; in-terms of the characters who were portrayed by Sigourney Weaver, Tom Skerritt, John Hurt, Ian Holm etc. The film was the complete opposite to Star Wars (1977), it was dark and grimy (Ridley Scott used The Texas Chain Saw Massacre as an influence on how he wanted to treat the film). Now Sir Ridley returns to sci-fi in 2012 with Prometheus.

The story is about two scientists, Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green), who go off on an expedition (the ship called Prometheus) to discover the creation of mankind, lead by Meredith Vickers (Charlize Theron) who represents Weyland Corp. Once they arrive on the distant planet, they soon discover a dark secret and everything soon goes downhill. It has been known as the Alien prequel but Ridley Scott decided to make it into an original science fiction film during pre-production. It does feature what we all know about the Alien franchise; derelict ship, android and Weyland Corp. but that’s where all ties from Alien stop. The story is very similar to H.P. Lovecraft’s At The Mountains of Madness (1936), in terms with its premise and twist. The film deals with the themes of creation and faith, though this is a story that has been itching Ridley since 1979; the origins of the Space Jockey. Whilst the themes are executed very well and the opening scene certainly delivers a bizarre but beautiful glimpse of what could be viewed as the creation of life.

Noomi Rapace, from Millennium trilogy fame as Lisbeth Salander, plays an interesting character that you follow and really get involved with. You feel her struggle as her faith is challenged when she slowly discovers about our creators (or engineers as they’re called) and wanting to find out why they created us. It certainly is a nice change that both Scott and Rapace didn’t try to create another Ripley and made sure the character stood out. Charlize Theron plays Meredith as cold as you expect when a Weyland employee is involved. She plays the character as very calculative, dry but also very straight-forward as you’d expect someone who’s company is funding a trillion dollar expedition. The standout performance in this film (and has everyone talking about) is Michael Fassbender as David the android and he steals every scene he’s in. His presence is captivating and makes you equally as fascinated and curious with the Space Jockeys as he is. The scene where he’s walking around and monitoring the ship and crew is probably my favourite scene in the whole movie, where there is barely any dialogue involved except where he watches Peter O’Toole in Lawrence of Arabia (1962).

This film is definitely going to get technical awards, especially for Production Design, Costume Design, Visual Effects and Sound. The whole film is exceptionally well made and it definitely shows where the money went and a lot of effort was put to make the best-looking science fiction film. The cinematography is absolutely gorgeous; every frame is beautifully lit and shot. Ridley Scott’s eye to detail on every part of the production is mind-blowing. Even where there were scenes were live actors were interacting with digital creatures looked seamless. Ridley shot the film in 3D and this film features the best use of 3D (along with Hugo, TRON: Legacy and Avatar). The common problem with 3D films is when a scene is dark, you’re focusing on the 3D than the scene itself and becomes incredibly distracting. This film, however, did not have those issues and would even recommend on seeing this film in 3D.

As much there were positive aspects in this film, it is not perfect unfortunately. Most of the supporting characters were not all memorable, especially anyone that wasn’t put top billing. They were all basically meat waiting to be put into the grinder and that’s where there’s the lack of tension/suspense. Unlike Alien where you got to know all the crew members and you actually cared for most of them whether they will die or not. The scene where Dallas (Tom Skerritt) goes through the ventilation shafts to find the xenomorph was one of the most frightening experiences I’ve had in film. Here, most of the scares are jump-scares, that’s a cliché the majority of horrors fall onto and it doesn’t work. It’s the anticipation of the horror; the tension building up and thus makes it scary. So when you see characters that are getting killed off when you barely had time to get to know them, you’re asking yourself “who cares?” The pacing and story is a bit muddled once the Prometheus crew lands on the planet and start discovering the Space Jockey’s ship. It all feels too quick and things start happening before the next set piece begins. I cannot help but feel there’s an extended version somewhere in the cutting room floor. It also leaves a few questions unanswered and I can see why some people may find that incredibly frustrating and especially so when it leaves it open for a sequel (or sequel-baiting). Some of the crew members weren’t entirely smart, they in fact made some pretty stupid decisions. For example; Rafe Spall’s character sees a snake like alien creature, his first instinct to do is slowly approach it and touch it whilst this creature makes a snarling hissing sound. That’s like going up to try touch a rattlesnake, even when it’s rattling its tail and hissing at you at the same time. Also the surgical pod in Meredith Vickers’ room didn’t make much sense, as it can only operate on male patients (why couldn’t it be able to operate on both sexes?). The music by Marc Streitenfeld (American Gangster and Robin Hood) is good but not as memorable compared to Jerry Goldsmith’s score for Alien. Where most of his tracks in the film work (the opening scene), some scenes I felt that could have been a lot stronger without it (David monitoring the ship).

Overall; an interesting science fiction film, that deals with themes that are bold and quite daring with the story and scope. I give Scott and his production team +A for delivering a beautiful looking film. Although it’s a film that has quite a few flaws and hoping there will be an extended director’s cut in the works!

3 out of 5

CANNES 2012 PREVIEW

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The most prestigious and coveted film festival on the planet is upon us as filmmakers, stars and journalists descend on the southern French seaside resort to view and critique some of the most anticipated films of the year. Of course I cannot be going myself; the rigour of the festival is said to drive even the most dedicated of film journalists to the edge let alone a beginner. But I can definitely cast my eye over the selection and pick ten of them that have caught my and other cinefiles eyes. Some of these have confirmed UK release dates, others do not. Either way the calibre of these titles should see them generating plenty of buzz before their arrival on these shores.

MOONRISE KINGDOM

The seventh feature from the king of idiosyncratic American indie cinema Wes Anderson is a period piece set in the mid sixties following two runaway teenagers in love and the haphazard search party that sets out after them. Anderson stalwarts Bill Murray and Jason Schwartzman are joined by newcomers Bruce Willis, Edward Norton and Frances McDormand to name a few. Anderson’s exceptionally detailed, designed and witty directorial style may not be to all tastes but for fans of his work this is set to tick all the boxes.

LOVE

Austrian master of discomfort Michael Haneke returns to France for a tale of a couple who must care for the wife’s elderly parents. French acting legend Isabelle Huppert appears alongside William Shimmel of the magnificent Certified Copy in what would appear to be a more gentle approach for Haneke. Those familiar with his work however, will be prepared for terrible things to happen.

KILLING THEM SOFTLY

The Assassination of Jesse James was one of the most criminally underrated films of recent years so hopes are high for director Andrew Dominik and star Brad Pitt’s reunion in this gritty crime thriller about an underworld investigation into a card game heist co starring Sam Shepard, Richard Jenkins, James Gandolfini and Ray Liotta. Pitt appeared in last year’s big Cannes winner The Tree Of Life. Can he make it two in a row?

COSMOPOLIS

Robert Pattinson has the hearts of millions of Twilight fans and now we find out if he can win critical acclaim in Canadian maestro David Cronenberg’s twisted thriller about a young elitist yuppie travelling across New York City for a designer haircut and getting caught up in a dystopian, cultural revolution. Imagine a science-fiction take on American Psycho.

GRANDMASTERS

Wong Kar- wai has had glory at Cannes before with his visually lush and unconventional takes on traditional genre features with In The Mood For Love and Chungking Express. Now he turns his fine eye to a classic martial arts tale (based on the Ip Man series) with Asian superstar Tony Leung pulling all the moves.

RUST AND BONE

Jacques Audiard is known for his poetic yet brutal dramas such as A Prophet and The Beat My Heart Skipped. Hopes are high for this dramatic tale of a marine park worker crippled in an accident who finds solace with an immigrant bouncer. The magnificent Marion Cotillard plays the lead and after being sadly relegated in recent American roles she may have to clear space next to her first Oscar for La Vie En Rose…

LIKE SOMEONE IN LOVE

Abbas Kiarostami is a master of blurring the line between fiction and cinematic construct and recently had glory at Cannes with Certified Copy. Here he heads to Japan, focusing on the relationship between an aging academic and a student side-lining as a prostitute. Whatever the context of their relationship the director’s previous work dictates that appearances can be deceiving.

ON THE ROAD

Jack Kerouac’s seminal road journey novel has been rolling around studios for years and now Walter Salles of the excellent road movie The Motorcycle Diaries turns his attention to the tale of two young men making their way across fifties America. Sam Riley of the the brilliant Control appears alongside Kirsten Stewart, Kirsten Dunst, Viggo Mortensen, Elisabeth Moss and Steve Buscemi. For the cast alone this is a must see.

LAWLESS

Reminiscent of his gritty western The Proposition, Australian director John Hillcot’s latest is another tale of outlaw brothers (here in prohibition era America) whose familial bonds are pushed to the limit by the pursuing lawmen and each other. Again this is a stellar cast; Tom Hardy, Guy Pearce, Jessica Chastain and Gary Oldman to name just a few.

THE ANGEL’S SHARE

Britain’s poet of the people Ken Loach is another Cannes stalwart and this appears to balance the mix between gentle humour and gritty realism of his previous work and concerns a young tearaway who finds a chance at redemption and success in the surprisingly sophisticated world of whisky brewing and selling.

The Cannes Film Festival runs from 16 May to 27 May.