Three Thousand Years Of Longing

Djinn & Tonic

Three Thousand
Years Of Longing
Australia/USA 2022
Directed by George Miller
Metro Goldwyn Mayer

I’ve not got a very good track record with the films of George Miller, to be honest. Of the eight I’ve seen, only Mad Max 2 - The Road Warrior and his segment of Twilight Zone The Movie were worth crossing the street for... unless there was heavy traffic in the way, in which case not even then. So I’m extremely pleased to say I’ve now seen Three Thousand Years Of Longing and so discovered that Miller had an absolute masterpiece in him after all.

Based on a novella length short story by A. S. Byatt called The Djinn in the Nightingale's Eye, I will give you now my customary warning that, no, I haven’t read the source material and so I can’t tell you in the slightest how good the film is as an adaptation. I can only respond to it, without that particular baggage, in terms of its engagement as a film.

The story tells of the somewhat isolated, or perhaps that should be muffled, personality who is Alithea, played by the great Tilda Swinton with a striking Northern accent (at least that’s what I hear it as). Alithea is a well respected Narratologist, someone who studies narratives... or stories, I guess... and makes deductions and conclusions about the way they are used and perceived by humanity. The film opens with her going to Istanbul to be a guest speaker at a World Of Narratology conference, booked into the local hotel in their Agatha Christie room, where the late writer wrote Murder On The Orient Express. However, after a couple of bizarre visions which I’m still not sure about (or at least in terms of how they tie in with this particular narrative) she finds herself in a nearby antique shop. Here she takes a shine to an old bottle which is purchased for her as a souvenir of her visit. It’s in the hotel room when she is cleaning said bottle, rubbing it briskly with a toothbrush, that the stopper is finally pulled and a genie or djinn is released into her room, in the form of another great actor, Idris Elba. He, of course, offers her three wishes.

Now, Alithea, who knows the cautionary tales of all the prior, ancient Djinn stories involving three wishes... knows that this concept rarely goes well for the person making the wishes. She at first refuses to wish at all and, as she and the Djinn get to know each other, they start swapping stories and she learns, through beautifully recreated flashbacks, of the circumstances surrounding this particular Djinn’s three prior bottle incarcerations and various releases. And I’m not telling you where it goes from there but, this is one of those films which is, adventures and magic aside, a good solid romantic movie. I don’t often take to those, they usually have to be really good or really intriguing... two qualities that this film possesses in spades.

And it’s just a beautifully shot, well put together movie about the nature of humans and their relationship to stories and their unfolding. The structure is such that we have Tilda Swinton doing voice-over narrative and talking directly to the audience to tell her present story and, in a lot of the sections, Idris Elba doing voice-over narrative as the Djinn, relaying his tale to Alithea. And it works really well and reflects as much on the nature, traps and pitfalls of romantic relationships as much as the way in which narratives can give insight into the nature of reality.

It also has some great lines in it... the writing is superb and I had to wonder how much of that came from the original short and how much if it is original to the movie. My favourite moment in regards to the dialogue, was when Tilda Swinton, playing this great, no nonsense powerhouse of intellectual thinking, tells the Djinn... “I’m a literary scholar. We don’t understand much.”

The film also has a truly wonderful score by Tom Holkenborg (aka Junkie XL), sadly not released on a proper CD... because why would they want to release a superb, richly orchestrated score like this on the most popular form of physical media so people can listen to it properly, eh?

And I don’t have much else to say about this one because it’s one of those truly wonderful, damn near perfect movie experiences but, I will say I was astonished and gleefully happy that, during her lecture on the use of narrative, Alithea has two big slides of super-hero artwork from both DC and Marvel side by side... not a crossover you would expect to see in a modern cinematic landscape, I guess. At least not yet (yeah, it’ll be coming).

And that’s me done with Three Thousand Years Of Longing. If you respond well to romantic movies, in both the modern sense and the original usage of the word as used to describe imagination and inventiveness in storytelling, then you surely won’t be disappointed in this one. It’s a lovely, moving and somewhat fast paced piece of cinema which truly is a spectacle and should be on every cinephile’s ‘to watch’ list. This one’s really wonderful.

The Suicide Squad

Starro Starro Night

The Suicide Squad
USA/Canada/UK 2021
Directed by James Gunn
Warner Brothers

Warning: This one has lots of spoilers so,
yeah, if you don’t want to know... don’t read.

Wow... it has to be said, in the long lineage of movies and theatrical serials based on DC comics characters going back to the 1940s, James Gunn’s sequel (ahem... sorry... I meant ‘soft reboot’... nah, it’s a sequel) to Suicide Squad (reviewed here), entitled The Suicide Squad, has to be somewhere within the top ten. Or if you’re counting just the modern DC Expanded Universe films... easily within the top three. I wasn’t particularly looking forward to this film all that much, it has to be said but, when I saw it I was completely bowled over by just how brilliantly put together it is.

Okay, so the film stars a few actors reprising their roles from previous DCU movies... Margot Robbie as Harley Quinn, Joel Kinnaman as Rick Flag and Viola Davis as Amanda Waller. It also stars a huge amount of heavy weight actors in various roles, far too numerous for me to mention here but a quick taster would be Daniela Melchior as Ratcatcher 2 (who really is the emotional heart of the movie), Idris Elba as Bloodsport, John Cena as Peacemaker, Peter Capaldi as Thinker and Sylvester Stallone as the voice of the wonderfully animated shark character, King Shark. They and all their co-stars are absolutely brilliant in a movie, which is as unpredictable (for the most part) as it is wildly entertaining and it’s one of those near perfect comic book movies where it gets almost everything right.

The film starts off before the opening logos have even started, with a Johnny Cash song which immediately ties into the opening prison scene. Most of the characters who make up the Suicide Squad this time around are newcomers (apart from Flag and Harley Quinn) and we have a very short introduction to the new characters in a kind of ‘fast forward’ through the recruitment process, including the Escape From New York style bombs implanted in the necks of the majority of the squad (and we also get to see what happens when one of those goes off). We then get the squad sent to the island of Corto Maltese, which of course is named after a character in a famous European comic book. If you remember, Kim Basinger’s Vicky Vale character in Tim Burton’s first Batman movie (reviewed here) was also known for her war torn photographs taken on the fictional island of Corto Maltese.

Anyway, I said this review contained spoilers and I’ll reveal now that, in a serious rug pulling exercise, of all the characters you meet in the early scenes, only two of the squad make it off the beach of Corto Maltese alive. It’s an explosive and incredibly violent scene which finishes most of them off before they’ve even started and... then we get the opening credits and find that Viola Davis’ character has been hedging her bets, with the first team being just a distraction to keep the military busy while another team landed on another part of the island. And then, as we get to know them, more hilarity, action and gory violence ensues as they go about their special mission to destroy the main bad guy of the movie, while of course, stopping to rescue the two surviving members of the other team who kept the military so busy. Well I say two surviving members but, the first of the two post credits scenes does one of the few things I was expecting to happen much earlier on in the film so, yeah, stick around when the end credits start up people.

And, actually, there are a few bad guys in the film but when I say the main bad guy I actually mean the main bad starfish. Yeah, that’s right. Anybody remember the truly ridiculous giant starfish character Starro The Conqueror? Starro first appeared in comics (and on the cover) in the very first Justice League Of America story from an issue of The Brave And The Bold in 1960. And as silly as the thing looks.. well... he looks even sillier in the movie but James Gunn somehow manages to pull off his character really well and, grounded by some of the truly visceral violence (there’s way more spilled blood in this one than most modern horror movies... think of the fourth Rambo movie and that should give you some idea), the big pink starfish smashing buildings kaiju style (which is also used as an ‘in film’ dialogue reference) works really well and you do fear that this could be the end of humanity as we know it... if the squad doesn’t think of something.

The film is extraordinarily fast moving, even in it’s exposition scenes... hey, if you want someone to move that kind of dialogue along fast without it getting boring, what can I say? Peter Capaldi was an excellent choice after his experience playing in Doctor Who... and it’s a real visual, eye candy assault on the senses. Some of the scenes, such as Harley Quinn breaking out of a prison, are handled in a very surprising, expressive, totally comic book manner while still being absolute adrenalin rushes of cinematic action. The whole thing works really well and even the practice of using songs to illustrate certain scenes (okay, I’d prefer it was just score utilised but hey, you can’t have everything)  is not overly distracting and gives the film a certain lift in some sequences.

My one complaint... and it’s a really minor one which most people might not notice, is that a couple of long shots don’t match up to what is happening in the close ups. For example, Harley Quinn looking to the upper right of screen in one scene and then cutting to a long shot showing her looking down at a corpse. Or the scene where she is being tortured with electricity and in one shot her feet are clenching through the pain but, when you see this repeated for a long shot, she’s forgotten to clench her toes up. It’s all pretty small stuff though and it really doesn’t hurt the film, which is frankly one of the best movies of the year.

Although the film certainly is a sequel and certainly fits in with the overall arc of the current crop of DCU movies, The Suicide Squad can also be used as a jumping on point because it barely refers to the other properties and it certainly would work as a stand alone movie when required. Truly one of the best movies DC and Warner Brothers have put out and fans of big budget comic book movies should definitely give this one some time. I can’t wait for the Blu Ray myself.

Molly's Game

Tech The Walls
At House Of Molly

Molly's Game
2017 China/USA Directed by Aaron Sorkin
2018 UK cinema release print.

Well that’s the first movie of my year done and dusted. Molly’s Game opened on New Years Day here in the UK and I knew it would probably be a pretty good one, based on the trailer and the one reason I wanted to see this... Jessica Chastain.

I’ve liked this actress since I first saw her in the excellent horror movie Mama (reviewed here) and my fondness was compounded by seeing her in other fantasy roles such as her excellent turn as the lead villain in Crimson Peak (reviewed by me here). However, it was her true powerhouse of a performance in last year’s absolutely astonishing Miss Sloane (reviewed here) which made me realise just what an actress for the ages she really is. If you want someone who can carry a film with a performance of someone who can demonstrate a confident sense of power while simultaneously showing the vulnerability of a character’s facade shining through, then Jessica Chastain is the actress for you.

And she relly does carry the movie on her shoulders, along with some very able support from the always watchable Idris Elba as her attorney and some nice work from Kevin Costner as her dad, which gives him some of the better dialogue of his career to work with, as far as I’m concerned.

The film tells the real life story of Molly Bloom (who wanted Chastain to play her in this film iteration of her, apparently) and is based on her book of the same title. In it she tells the story of how, after dropping out of being an olympic skiing champion after an accident which cost her a lot of her spine, she became embroiled in running gambling games for her awful boss, before setting up and running her own, ‘mostly legal’  gambling dens which were then raided by the FBI who arrested her for connections to the Russian mob, amongst others (people who she did not know were connected in any way to a criminal organisation, by all accounts).

The film is interesting in that the structure is all over the place, flashing back to childhood versions of the character and also to different points in her adult life whenever it needs to but one of the strengths of the great writing from the director here is that this jumping around never feels chaotic. Instead, it informs the steadily unfolding story of Molly’s problematic career choice in a way that it slowly reveals certain key aspects of her character and her relation to those around her in an intelligent and, luckily for the audience, entertaining manner.

The film’s biggest strengths are the quality of Sorkin’s dialogue and the incredible performances of all concerned here. Even the minor characters seem well acted and add value to the whole. There are a couple of points I’d have to be a little critical of, however.

One of the disappointing aspects of this movie, I felt, was that the shot design is merely extremely competent, rather than outstanding. Sure, the film is dominated by interior sets and the director sometimes makes use of the vertical, rectangular blocks to cut out a pleasing composition on occasion but... nothing that really stood out in the same way that, for instance, the aforementioned Miss Sloane shone in terms of the visual aspect of the picture. That being said, it’s probable that the director made the decision to steer clear of allowing the compositions to draw attention to themselves, perhaps assuming that this would be a barrier to the smooth running of the film. Personally, though, I don’t think that would necessarily be a valid choice (if, indeed, it was the direction he went with here) and I think films like this one, which are mostly all about the dialogue plus the information given to us on the ‘voice over’ narrative, can benefit from a more overt, visually arresting style.

The only other bad thing I could see here was that I was thrown into absolute confusion by the fact that the lawyer played by Elba was able to read Molly Bloom’s real life published book while, simultaneously, she’s still looking for a publisher for it. I was not clear as to whether they were talking about a second book or something else. The IMDB cleared that up for me when I saw that, yes, the book wasn’t published yet in real life at the time of the events depicted in the movie and that, somehow, we were being asked to believe that the book was somehow, like Shrödinger’s Cat, in two possible states of being at the same time... already published while at the same time, unpublished. I don’t know why we are expected not to question this but it was very clearly something which confused the heck out of me and I don’t know why the writer/director did that.

The amazing Daniel Pemberton’s score is, sadly, not that evident in the mix and didn’t make much of an impression on me during the course of the film. However, there is a CD being released for this in four days time and I might have a listen to the samples once they’re up to see (or hear) if it’s something that would reveal a more rewarding experience away from the movie if I bought a copy. As it stands, though, it certainly doesn’t jar with the on visuals or general tone of the piece and it is, at the very least, an appropriate score for the movie. So there’s that.

As for everything else about Molly’s Game, though... pitch perfect and the good stuff here more than outweighs the problems I had with it. Certainly a good one to start the year off with and I have already started recommending it to my friends to take a look at. I can only keep my fingers crossed that they’re all at least as good as this one in the coming months.

Thor - Ragnarok

Ragnarok N’ Roll

Thor - Ragnarok
2017 USA Directed by Taika Waititi
UK cinema release print.

Warning: Very minor ‘ish’ story spoilers, I suppose.

So here we go again with Thor - Ragnarok. It's yet another, fairly impressive, entry into Marvel’s strand of MCU films (Marvel Cinematic Universe) which all take place in a shared universe and have interlocking characters, themes and situations which build on and support each other. So, essentially, this is yet another sequel to Iron Man, even though Robert Downey Jr’s version of Tony Stark is only mentioned here and doesn’t actually appear in the flesh. Although there have been a few misses along the way... Iron Man 2 and the two Guardians Of The Galaxy films really didn’t do much for me, it has to be said (although I do like the characters in the GOTG films... just not the story ideas surrounding them)... the films are mostly solid and, musical continuity aside, the Marvel films in this sequence seem to have a knack for good casting (both in front of and behind the cameras). This latest installment is no exception to that rule. Sure, it’s certainly not the best of them but it’s definitely somewhere in the upper half of fun Marvel movies, I would say.

The previous two Thor ‘solo’ movies (if you can call this a solo adventure) were different in tone to each other and this third entry again changes the look and feel of the stories. Starting off with Thor imprisoned and talking to the a captive audience abut how he got in this predicament, I at first thought the majority of the running time was going to be one long flashback telling us how Thor got to this point and that the conclusion would lead on from here. Not so, though, and in the first of many surprises, we have a typical James Bondian ‘end of a mission’ moment when Thor talks to a big fiery devil creature and gains an inkling about the duplicity of Loki’s last trick, when it was revealed to the audience but not to Thor that Loki had replaced Zeus and was impersonating him to rule Asgard (at the end of Thor - The Dark World reviewed here). Thor then does battle with the monster and, when he finally gets back to Asgard, uncovers Loki tricksterism (in a nice scene which spoofs Loki’s fake death from Thor - The Dark World). After the two go to find Zeus, played once again by Anthony Hopkins and helped in their quest by a recent addition to the Marvel Universe, they learn that they have an older sister, Hela (played by the wonderful Cate Blanchett), who was banished by Zeus in days gone by. She is the Goddess of Death and she’s pretty powerful.

In a mini showdown, Hela destroy’s Thor’s hammer and, while he and Loki are fleeing to Asgard, she follows them up the Bifrost and both Thor and Loki are thrown from that mode of transport into a random part of the Universe where Thor is taken prisoner by Jeff Goldblum’s ‘Grandmaster’ and forced to fight in the arena against... The Incredible Hulk. However, he has to find a way back to Asgard and so he teams up with Loki, Valkyrie and Hulk/Banner to try to make things right. And that’s the plot set up and that’s all I’m saying about it here... which is pretty much what you can gather from the trailer anyway.

So we have Chris Hemsworth back as Thor and Tom Hiddleston back as Loki and, frankly, the chemistry between them is great. We also have one of my favourite modern actors, Mark Ruffalo, back as Bruce Banner/Hulk and he’s always a fun watch but he’s mostly back as Hulk here, rather than in his human form. The Hulk character has, as you will have seen from the trailers, finally ‘found his voice’, so to speak and is more in keeping with the original comics in this way. I think the character also looks a lot more like Ruffalo here and, maybe I’m wrong here but his head seems to have grown smaller in size too? Seems to have been redesigned. We also have Tessa Thompson who seems miscast, racially, as the blonde haired, Wagnerian styled Valkyrie from the 1970s comics, although I don’t know if she’s been revamped in recent comics like the Nick Fury character was so I might just be showing my age here. Away from the ‘look’ of the character, though, she does do pretty well here and creates an entertaining screen personae but, again, she seems far removed from being The Enchantress as she ‘kinda/also’ was in the early 70s comics.

Idris Elba returns as Heimdall, partaking in some nice heroics and there are also a couple of special cameos here from Sam Neil and Luke ‘brother of Chris’ Hemsworth which provide a great moment when Thor gets back to Asgard. Karl Urban also turns up (although I didn’t actually recognise him, which shows just how good of an actor he is) as a... well he’s definitely someone you have to keep an eye on. He’s not a black and white character by any means, even though he’s still a quick sketch of one... in terms of the film moving at a very fast pace. My favourite new character here, though, was easily a rock creature called Korg who definitely gets all the best laughs in the movie... so I was surprised to learn later that he’d been played by the director, Taika Waititi.

And when I say he got the best laughs...

Thor - Ragnarok shouldn’t really work as well as it does here and this is due to the tone of this one. I mentioned earlier that the previous Thor movies seemed to have a slightly different tone but this one is a complete ‘about face’ to the way in which the characters were presented in the previous Thor adventures. In fact, this one is pretty much written as a comedy all the way through. The scripting pretty much consists of a load of jokes and one liners thrown together and, although a lot of it was apparently improvised on set for this particular film, it really works quite well for most of the time.

Now, you’d think that such an out and out comedy treatment of the subject matter might trivialise the story arc of the ‘big picture’ the Marvel Cinematic Universe has been building towards completing over the next two years but it really doesn’t fall into any of the traps it could have been tripped up with and the tone of the piece never really interferes with the tone and credibility of the established characters (for the most part... I’ll get to my one big complaint in a minute). Furthermore, although comedy is the order of the day in this one, you never really feel like it’s watering down the stakes which are quite high here. It’s also quite edgy in something it does to one of the characters and I realised at one point in the film that one of the scenes used in the trailers must have been shot twice (once with and once without... something) or at least had some heavy CGI work done on it in order to not reveal something which will be a permanent change to one of the regular characters in the MCU.

My one big problem here was the Banner/Hulk character... not in terms of acting but in terms of scripting. For starters, Banner’s few scenes in the movie seem to be really ‘out of character’ to me and it’s like he’s gone completely mad. I understand that after being ‘imprisoned’ in the Hulk’s body for two years the character might return a little dazed and confused but something about the writing here just didn’t seem to ring true to the excellent work Ruffalo has done with Bruce Banner in previous films in the series. Also... and I may be completely wrong about this... but isn’t the continuity completely wrong here. I thought the jet that Hulk used to escape in Avengers - Age Of Ultron (reviewed here) was found or tracked to a specific place on Earth, although Hulk was not found. Or did I remember that wrong because... that’s not in the back story here. The jet seems to have ended up somewhere completely different and ‘off world’. Also, the character makes reference to having been on another planet other than Earth and the one he’s currently on here and Thor seems to remember this too. Well, I don’t. When the heck did this happen in the intervening movies? So I was finding myself very puzzled during some scenes here.

Also, while I'm on the subject of continuity. If Thor was in a happy relationship with Natalie Portman's character still when he left Earth in Avengers - Age Of Ultron... how can they have had any time to 'split up', as is stated here, when he hasn't been back to Earth since then until a certain scene in this film? That makes no sense. Honestly Marvel, if you find yourself in the position where you have to write a character out because they don't want to do anymore, you could at least make it a little more credible.

However, this is all just minor stuff and, in terms of broad strokes, Thor - Ragnarok is definitely one of the better entries in the MCU. Mark Mothersbaugh’s score is nicely done too (although I would have liked to have heard what Brian Tyler might have done with this one) and there’s even a nice musical cameo from Willy Wonka and the Chocolate Factory, if I’m not much mistaken. If you’re a fan/follower’/true believer’ of the Marvel movies then you really need to see this... especially since it helps set up (as do they all, I guess), next year’s Avengers - Infinity War. It’s perhaps more married, in terms of the kind of comedy action style it has here, to the two Guardians Of The Galaxy movies but it doesn’t seem to make the same mistakes that those two did (for me) and this one was a much more positive experience. And, like I said, the stakes are high in this one and, by the end of the story, you definitely feel that various things have been changed forever in the wake of this movie. Things which certainly, in some ways, live up to the movie’s subtitle of Ragnarok. My big question of the writers, though, is this... where the heck is Lady Sif these days?

The Dark Tower

Have Gun, Will Unravel

The Dark Tower
2017 USA Directed by Nikolaj Arcel
UK cinema release print.

I actually wasn’t going to bother going to see The Dark Tower, to be honest, with you. Much as I like Idris Elba and the way his character loaded his guns in the most ridiculous, impossible way ever in the trailer, I was  annoyed by the appropriation of Ennio Morricone’s famous watch chimes from For A Few Dollars More (they don’t actually make it into the movie itself, just the marketing) and the negative critical attention the movie got kind of kept me disinterested on the first week of its release. However, a co-worker at my esteemed place of employment suggested to me that, actually, it’s a pretty good movie so I figured that, if I got a chance, I’d try to make some time for it after all (so thanks very much to Tracey S for the ‘heads up’).

Now, I’m pretty glad I saw this one in the end because, frankly, it’s not nearly as bad as the negative reviews are making out and probably doesn’t deserve the poor box office it seems to have had (which in a year where cinema attendances have apparently dropped over 50% to reach their lowest numbers in decades, doesn’t seem like that bad a sin, to be fair, when compared to the performance of the majority of big studio films of 2017). That being said, it’s not without it’s problems and these are not little things so I’ll get them out of the way now.

Now, one of the criticisms that the film is supposed to have is that this really isn’t an adaptation of any in the series of the Stephen King novels it is alleged to be based on. More of a prequel or sequel by all accounts. Now, although I used to love reading Stephen King in the early to mid 1980s when the first of these novels was released, I never bothered with this one because it was in what I quaintly used to call a ‘rip off’ edition... because the page count was very low and so the company who released the paperback here in the UK made the book slightly oversized and charged way more money than a regular novel twice the length to compensate for it. Even in my early teens I could tell a bad deal when I saw one so I didn’t waste what little pocket money I had getting this one. What this means, of course, is that I can’t tell you how great an adaptation or interpretation of the original source material this movie is but, by all accounts it’s not very close so I can understand the negative passion unleashed by fans of the novels at the way this movie has been handled. My sympathies to them on that one.

Not being able to weigh in on that one myself, then, the biggest problem I had with the film was the incredibly appalling continuity. The main child protagonist of the film, Jake, played ably by Tom Taylor, drops his bag of trusty drawings at one point to lock himself in a bathroom and then escape through the window before being chased out of his neighbourhood. When he escapes, finds his destination and travels to an alternative world through a portal, he suddenly has his bag with him again. What? And then, suddenly, within ten minutes, it’s gone again as he seems to lose it between two shots with no apparent explanation. At first I thought the film’s other main protagonist, The Gunslinger played by Idris Elba, was carrying it before remembering that he also had a bag like that left by the remains of his camp fire when Jake stumbles into him. So... yeah... magically teleporting bag is not the best continuity in the world. Now I understand that this may have been the fault of hard editing choices in the final cut but, even so, the continuity leaps are quite glaring here and enough to pop you right out of the movie.

So there you go... that’s my only real stumbling block with the movie. As for the rest of it...

Well, it’s a nice action movie with a very retro feel for us oldsters. It really does feel like a movie which might have been made in the early to mid-1980s (when the novels came out) and if you’re into that kind of feel then all well and good. It kinda reminded me a bit of Back To The Future Part III crossed with The Dark Crystal and... yeah... depending on your age or tolerance for flights of fantasy, then you’ll either embrace this film or shun it. Personally I had a great time with the melding of that kind of, almost innocent, sensibility mixed together with the kind of modern action sequences which have that 'Jason Statham in The Transporter' kind of ridiculousness to it... which I also loved. Seriously, when you see the way The Gunslinger manages to constantly reload his dual six shooters in the blink of an eye or throw revolver chambers up in the air and catch them in his guns, you’ll know exactly what I’m talking about. It certainly stretches the boundaries of credibility and challenges the audience's skills at suspending their disbelief but, you know, in a way that’s what cinema is all about... to show us something we can’t necessarily see in real life (like all great art). So I really have no complaints about that.

The performances are good from all the lead players and that’s especially to be said for the primary bad guy, The Man In Black, played with relish and the usual amount of almost effortless talent by the always watchable Matthew McConaughey. There are also some nicely edited together sequences such as the full ‘bullet fired through the night’ sequence which you will have seen in the trailer in a truncated form but which works better here due to the build up as certain key locations and objects are viewed by the camera before being revisited in the edit of the actual 'gunshot moment' itself. It’s good stuff and, although the film never really manages to raise itself up from being a B-movie kind of affair, it’s a nicely put together B-movie and can easily go toe to toe with a lot of A-list pictures which don’t have the same kind of understanding of the way a sequence is put together (despite the glaring continuity issues in this movie).

There’s also a nicely epic, over the top but very listenable score by Tom Holkenborg (aka Junkie XL) which gives some of the action sequences the required boost when called for. This guy is becoming quite an accomplished film composer and I’m warming to him a lot of late.

If there are some Stephen King enthusiasts in the audience who are not alienated by the deviations from the source material, then there are a heck of a lot of King references dotted throughout the film for them to enjoy. King tends to link all of his books together by having them take place in local locations or referencing events from other books as throwaway comments by characters and the film does the same thing here. For instance, Jake has the ‘shine’ associated with King’s famous novel (and subsequent Stanley Kubrick film) The Shining and a poster pin-up of Rita Hayworth from King’s short story The Rita Hayworth And Shawshank Redemption (filmed as The Shawshank Redemption) is quite prominent in one scene.

At the end of the day, The Dark Tower is not the best movie out there, especially in a year which, even with record box office lows, has given us some very rich cinematic art. It is, however, very entertaining and certainly doesn’t get boring for its ‘not quite an hour and a half’ running time. Certainly, if you’re put off by the negative word of mouth for the movie but you’re not that fussed at how closely it follows the original series of novels then you may want to give this one a look after all. It’s not an entirely unoriginal movie and it even has a few edgier moments that other Hollywood movies might have shied away from. Give it a go if you’re looking for a bit of light hearted popcorn fodder that you won’t have to think too much about. You could do a lot worse.

Star Trek Beyond

Peachy Elba

Star Trek Beyond
2016 USA Directed by Justin Lin
UK cinema release print.

Warning: Very slight spoilers beyond...

Well the thirteenth cinematic Star Trek movie is finally here and... I still don’t quite understand why the heck it’s called Star Trek Beyond but... oh well... abstract title for a bit of a fuzzy movie. Star Trek Beyond is probably my least favourite of the mini trilogy within a franchise (to date) which began with the 2009 Star Trek (reviewed by me here in one of my earliest NUTS4R2 reviews) and continued with Star Trek Into Darkness (reviewed here). That being said, it’s nowhere near being a bad movie, certainly in terms of the Trek franchise as a whole... it’s much better than Star Trek Nemesis (reviewed by me here) for instance.

Okay... the story isn’t all that great on this one, to be honest. However, you can tell that British comedy guru Simon Pegg, who plays ‘Scottie’ in the new films, has been let loose on the script for this one because the dialogue is pretty sharp. It’s also a movie which is big in action but still lives up, somewhat thinly perhaps, to the basic science fiction storytelling which made the original 1960s series which these current movies are based on so great.

The actors are all fine here with a much bigger role for both Simon Pegg’s Scotty and Anton Yelchin’s take on Pavel Chekov. I’m sure the majority of my readers will know of the tragic accident which claimed the life of Yelchin about a month ago, a big blow to the acting community, I believe. I remember how good he was in the Jim Jarmusch movie Only Lovers Left Alive (reviewed by me here) and, just recently, Green Room (reviewed by me here). So it’s actually very sad to see him go. Something which I’m sure won’t get easier for audiences as each of the other four films he still has coming out this year are released.

Ironically, Yelchin’s part is somewhat beefed up in this movie and, although Chekov is still very much assigned to a functional role in this, Yelchin gets his chance to shine as he’s with Chris Pine’s incarnation of James T. Kirk for large chunks of the movie, as the two pair up to try and find their lost crew. I think the dead give away that the writers have been getting more interested in Chekov as the franchise continues is the inclusion of a nice line towards the end which certainly echoes the original character, as played by Walter Koenig in the TV show. “Did you know that Scotch was actually invented by a little old lady in Leningrad?” asks Yelchin, which made me smile and realise they were possibly looking to get much more invested in the character as the franchise continues.

Star Trek Beyond is not just a memorial movie for Yelchin, however, who gets a credit at the end of the movie which simply states... For Anton. Pryor to this on his own memorium credit, and throughout the movie, we are continually reminded of another famous Star Trek actor who passed away recently... Leonard Nimoy, who played the original Mr. Spock and continued to do so in the previous two movies. Nimoy is the one constant that bridges the original franchise and this so called reboot (or sequels as most people know them) as his original character went back in time and bore witness to the creation of this redirected timeline that started off this version of the adventures. With two identical Spocks at different ages living in this timeline, the writers have now chosen to kill off the Nimoy version of the character too... or Spock Prime, as he is now known. It’s a touching moment when the current Spock, played so well by Zachary Quinto but with a slightly diminished role in this adventure, is left his older self’s few artefacts which, presumably, he managed to somehow bring back in time within him. Amongst these is a photograph of Nimoy and the rest of his fellow cast from the original movies, grouped in a publicity shot that I’m guessing was one used for Star Trek VI - The Undiscovered Country (reviewed by me here). It’s one of a few touching moments and, probably, one of the very last times we’ll see Nimoy’s face in a Star Trek movie.

All the other actors are great too, of course, with Judge Dredd himself, Karl Urban, playing a great version of Doctor McCoy, Zoe Saldana as a much more active Lieutenant Uhura than Nichelle Nichols ever really got the chance to be and John Cho continuing his good work as Sulu. Also joining the cast are Sofia Boutella as new ally Jaylah and the always watchable Idris Elba as the main villain of the piece, Krall.

So solid acting, great dialogue and special effects which are up to the scratch, as usual. However, there’s perhaps way too much action in this one or, at least, way too much motion. I’ve not seen any other movies by director Justin Lin but in this one the camera seems to be swooping all over the place for most of the time. It rarely comes to a stand still, even in the quieter, more low key scenes, and while this technique serves some scenes well, like the first proper ‘swoop through’ of the ‘snowglobe space station’ Yorktown and also in some of the action scenes... the camerawork does get kinda dizzying and disorienting at some points, it has to be said.

Another thing which had me questioning if I had my 3D glasses on correctly was the lighting in some of the scenes... so much so that I had to take them off at one point to prove to myself that, yes, the scenes really were lit that badly. There are certain sequences in the movie, especially in... without giving too much away... Jaylah’s house, that are not exactly dark but... well, just downright dull and which are hard to register on the eyes. Like the interiors in some scenes are all shot through a fine fog which doesn’t quite want to engage you in a way that might help you appreciate the sets. Fair enough, I guess. I’m assuming the director was going for some kind of neutral effect to give other scenes contrast around these, maybe, but it really didn’t do much for me.

The other thing which didn’t quite work for me was most of the last act... the action sequences seem somewhat less than entertaining although, even with all the swooping and whirling camera movement, I was actually able to keep up with the choreography of the kinetic set pieces in this one. So there’s that, I guess.

At the end of the day... Star Trek Beyond is an okay addition to the franchise. Some of the dialogue such as Scotty’s reference to a giant, green hand, which is obviously a humorous reference to the original Star Trek TV episode Who Mourns For Adonis?, had me chuckling a fair bit and you can’t help but buy into the characters when they have lines like this. Alas, it doesn’t make up for a finale which, for me, brought to mind some of the worst Star Trek movie finales such as Star Trek Insurrection (which was an okay film with a terrible last act and which I reviewed here) and the aforementioned Star Trek Nemesis. Truth be told, by the end of the movie, I was getting pretty bored and I think it could have done with either some pruning at the end or, possibly better, a much more interesting couple of set pieces rather than the usual... countdown to stopping the villain realising his plan with just a few seconds to spare kind of scenario. It was already a tired way of doing things back at the dawn of the century... it’s really yawn inducing now. Or, at least, it is the way it’s presented here.

All in all, though, it’s sure to please Star Trek fans who, I’ve no doubt, will turn out for it in force... although I noticed the 3D screening I went to wasn’t even half full on its opening night... which I can’t quite figure out since it easily took number one spot at the box office. So, yeah, not a bad one and I’ll definitely be rewatching on Blu Ray at some point... possibly when it’s been out for a while and goes onto the sale racks. Star Trek Beyond doesn’t really take you anywhere near where the franchise hasn’t boldly gone before but, at least, it doesn’t do that in a competent manner and there are some really witty one liners along the way. Maybe give it a go if there’s nothing else on at the cinema this week.

Star Trek @ NUTS4R2
Star Trek Series 1
Star Trek - The Motion Picture 
Star Trek II - The Wrath Of Khan
Star Trek III - The Search For Spock
Star Trek IV - The Voyage Home 
Star Trek V - The Final Frontier 
Star Trek VI - The Undiscovered Country
Star Trek - Generations (aka Star Trek VII) 
Star Trek - First Contact 
Star Trek - Insurrection 
Star Trek Nemesis 

Star Trek 11

Star Trek: In Darkness (aka Star Trek 12)

Star Trek Beyond

Bastille Day

Inglorious Bastilles

Bastille Day
2016 France/USA
Directed by James Watkins
UK cinema release print.

I really wanted to like Bastille Day. I’d seen the trailer and, though it felt a little flat in places, it looked like a solid action thriller in the now familiar mode of a cop using a roguish criminal to save the day, despite antagonism from both the criminal underworld and the police department. And that’s more or less what this is, to be honest... except the main lead, played by Idris Elba, is a CIA agent working in Paris, and he uses a pickpocket who has been mistaken for a terrorist to crack open and foil a possible terrorist plot on Bastille Day in France. Trouble is that, like the trailer, it’s an okay action thriller... not a great one.

The fault certainly doesn’t fall in the laps of the actors though. I’ve been a fan of Idris Elba in film (not seen his TV stuff) since I saw him in the second Ghost Rider movie and he does an excellent job here. Tempering his tough guy, rather imposing personae by having an action hero, Briar, that will also get bashed about a bit and doesn’t always clear out of the way of the traps before they happen. So a more realistic, in some sense, version of the kind of kinetic characters you usually get in this kind of movie. Richard Madden plays the pickpocket, Michael, working with Briar to foil the dastardly plot and clear his own name in the process, after he stole a bag and then dumped it before it exploded and killed four people. And they, and all the other supporting actors in here, do a really good job with the movie, creating quick and credible characters that the shorthand of their trade would permit in this kind of punch and chase driven bullet bonanza.

And some of it is nicely done, to be sure. The problem, I think, doesn’t fall into the hands of James Watkins either, since the action sequences and small character moments in the film are all handled simply, allowing you easy access into the heart of the story and without losing you at any point. Indeed, he and his editor also manage to use some surprisingly good labour saving moments where the camera movement and style of shot, such as a zoom, will take you into a later part of the same sequence using a similar style and speed of shot, neatly cutting out unnecessary footage and all without confusing the audience... which is a pretty neat trick and to be applauded, actually. Especially when he does it in the middle of an action sequence and then you find yourself going from mid or close up to a later point in the sequence in long shot of a different view without any transitional glitch at all. Very well done.

Even the score on this one, by Alex Heffes, is quite distinct and holds its own during the noisy shoot outs, ably supporting the action and helping to move things forward. It’s a shame it’s only out on download rather than on CD but, as I’ve said before on here, no CD equals no sale. Downloads are a real turn off for a number of reasons.

However, the film has a huge problem in that it seems to telegraph every twist and turn before it even happens here. Yes, I know we’ve all seen a gazillion other movies like this and so, as an audience, there are a number of permutations of expectations as to what each and every character type is going to do in a movie like this but... shouldn’t the writer be allowing for that and not falling into the clichés created by those kinds of situations? This film really is full of little twists that, honestly, everyone is going to see coming way before they happen. I was going through the whole movie thinking things like... “Oh, this character is going to get ‘shockingly’ shot dead by this ‘friendly’ character in about 30 seconds” or “This character is in no real danger here because the other guy the audience is supposed to have forgotten about is just standing over there, ready to make an appearance”, and so on. There really are no surprises in this movie and that really harms it a lot because there actually isn’t a lot else that these kinds of films have going for them, to be honest.

And, though the main leads are likeable and start building up a relationship, I think there could have been another one or two sequences put in purely to show the developing chemistry between them because, at a certain point in the film towards the end, I was really wondering why Character B was bothering to put himself back into the line of fire for Character A when, really, he was already in the clear. So, yeah, just a little more character development/interaction stuff in this one would have been nice, to be honest.

Other than that, though, all grumbles aside, there are a lot lesser action thrillers than this one out there and if you’re a fan of Idris Elba, you probably won’t want to miss out on this one... although I really think he could do with a better vehicle than Bastille Day, truth be told. Still, an okay and somewhat unchallenging time at the cinema for action fans. I’m positive there are worse ways to while away an hour and a half. So maybe give it a go if you’re not worried about seeing something a little formulaic in the time you have. It’s not the worst film I’ve seen of its kind, for sure.

Thor - The Dark World (aka Thor 3)

Thantastic Thor

Thor - The Dark World (aka Thor 3)
2013 USA
Directed by Alan Taylor
Playing at UK cinemas now.

I really liked the first Thor movie (my review here), despite not being as familiar with that particular comic book character as I might have been, or perhaps because of that fact. I quite liked his turn in The Avengers (aka Marvel Avengers Assemble... my review here) movie and so was hoping his third outing wouldn’t make the mistake that the numerologically challenged Iron Man 2 (reviewed here) made and let the first movie down a bit. However, I went in with a fairly open mind and saw what I saw and concluded what I concluded, which is this...

Thor - The Dark World is not a great movie. Having said that though, it’s certainly a quite good movie and absolutely a lot of fun but, most importantly of all, it doesn’t let the first movie down in any way in terms of maintaining the same blend of character chemistry, morality and paciness of the original. The first movie, directed by Kenneth Branagh, had a certain stylistic flair which reminded me of nothing less than the Errol Flynn swashbuckler The Adventures Of Robin Hood, which is a pretty good template for any swashbuckler as far as I’m concerned. This one didn’t quite tick those boxes for me, I have to say, but it did still manage to maintain a certain cavalier attitude in the attitudes of some of the characters which gave it an edge on some of the other Marvel Universe movies doing the rounds in the last year or so.

I liked the interplay between the characters quite a bit in this one. I even liked the normally insufferable Loki, played by Tom Hiddleston, on this occasion... a character I found to be sadly lacking in his first two Marvel Universe appearances but in this one I thought the chemistry between him and Chris Hemsworth’s Thor was pretty watchable, for once. Maybe the script was stronger at the dialogue level. The direction was quite nice in places too, with some really nice shot set ups in certain sequences where foreground and background people and objects created nice angles and relationships between each other (something I think will probably be even more noticeable when I watch a 2D version at some point, I suspect).

The performances were all as brilliant as you would expect from such a cast, with Kat Dennings’ uber intern character adding just the right touches of colour when bouncing off Natalie Portman and co, so that the movie, on many levels, is just a joy to watch. Unfortunately there were some big fails as far as I was concerned...

I didn’t, for instance, think a heck of a lot of the various action sequences which played away from Earth... in Asgard and The Dark World, for example and, considering at least two thirds of the action actually takes place in these environments, I did find my mind wandering at some points. Christopher Eccleston was pretty great as “bad guy of the moment” Malekith but he was under so much make up that if I hadn’t already had known he was in it, I wouldn’t have noticed it was Eccleston. So that’s a shame.

Another great performer, the distinguished actor Stellan Skarsgård, also returned for a third go at his Erik Selvig role, but he has been scripted totally as another “comic relief” ingredient in this movie and, although his performance was as phenomenal as it always is, I didn’t really enjoy the fact that, after his import in the last two movies, he’d been pretty much reduced to a mere running joke in this film.

That being said, there are some unprecedented moments of high silliness in Thor - The Dark World and that really does a lot to act as an antidote to alleviate the dullness of some of the grimmer scenes in Asgard and other alien landscapes and lift it back up to the realm of being a good movie rather than a bland affair. Thor’s encounter with the London Underground right in the middle of the big, final battle sequence, for example is priceless and I really welcomed the inclusion of the Charing Cross tube platform into the narrative... except, note to the writers, Charing Cross station is not three stops from Greenwich, which is on a different line and would require changing trains and be more like a half hour ride. This could not have happened in the context of the narrative people. How hard would that have been to sort out?

All in all, the special effects were competently handled (although I feel a lot of the scenes in this felt like a dry run for Guardians Of The Galaxy in some way, which doesn’t fill me with confidence for that movie when it comes out), the story was sound and, although the various character twists could be seen coming a mile off (the last shot before the end credits run, for example, wasn’t exactly revelatory), the scenes set in London and Greenwich more than compensated for some of the bits which dragged... although I’d have to say Idris Elba was sadly underused. He needs a bigger role fighting alongside Thor in the next one please guys. The pseudo-appearance of another Marvel Universe character halfway through the narrative was also a welcome inclusion, to be sure... Marvel really are applying their early to mid-sixties comic book modus operandi to their movies at this point, quite successfully too, so far.

As far as the music goes, Brian Tyler’s excellent score is great but not as good as his score for Iron Man Three (reviewed here) and, more importantly, not as cool as Patrick Doyle’s score for the first Thor movie. I’ve got nothing against Brian Tyler, I think his music is always good and I am looking forward to receiving this score for Christmas (fingers crossed) but seriously, when will Marvel stop playing musical chairs with their composers and obliterating any musical continuity within the series. To be fair to the always listenable Tyler, he does integrate another composer’s theme for one sequence in this movie, although I can’t tell you what scene and which composer because that will obviously spoil the surprise of that brief cameo for you... but I really think Marvel should start to treat their scores for their movies more seriously at this stage. They are doing so much right now with the scripting, casting and choice of directors that they should really get onto the case.

That aside, if you liked the previous two Thor movies then you really shouldn’t be too worried about this one as you’ll almost certainly have a fairly enjoyable time with it too. And I’ll tell you now, don’t be getting up to go once the end credits start rolling... this movie contains, not only a mid end credits epilogue sequence but also a post end credits epilogue sequence too, which gives a little bit more closure to the actual story on the second epilogue, while setting up the next story arc for at least one of the upcoming Marvel movies on the first of the epilogues.

So there you go. Good movie, not as great as the first one, still quite fun and worth paying out the money for, although I thought the 3D conversion on this one was quite poor, flat and lifeless... it has to be said. Definitely worth a watch for all you Marvel fans though.

Pacific Rim

Apocalypse, No!

Pacific Rim
2013 USA
Directed by Guillermo del Toro
Playing at cinemas now.

Guillermo del Toro’s Pacific Rim is basically a giant monster VS giant robot “bash ‘em up” of the specific kind which started out life in the 1954 movie Gojira (aka Godzilla) but which, in fact, became more into its own in this form in the series of movies which followed on from that initial Big G outing from the 60s through to the early 70s and then again for the next two waves of related films (plus in every kind of official and unofficial spin off from those ever since). Del Toro is quick to play up that analogy, not that we needed it, in the first few seconds of this film.

Kaiju, it tells us, is a Japanese word for monster and Jaeger is the German name for hunter.

Of course, what we have here, right away, is a double pun from Del Toro.

The actual genre of Japanese film which encompasses all these giant beasts is Kaiju Eiga, a term I expect most of my readers are not unfamiliar with and which is literally translated as “monster movie”. The Jaegers which are the giant robot machines of this movie are apparently pronounced with a silent J, giving them a 'y' sound. So, kaiju jaeger = kaiju eiga. That’s the first bit of fun in the film.

The other little side swipe of a joke within that, of course, is that Jaeger also looks like Jaguar, as in Jet Jaguar, who was probably the most influential (if not the first, although I suspect probably the first too?) of the giant monster fighting robots, making his debut in the 1972 film Godzilla Vs Megalon and much copied since then (you wouldn’t have stuff like Shogun Warriors, Transformers or even The Mighty Morphin Power Rangers without him... although I’m not sure that’s a good thing, to be honest). So that’s what all these giant robots are stand-ins for... they’re all Jet Jaguars. Hence Jaeger...so there you go, fun pun number 2.

Now I find Del Toro a bit hit and miss as a rule and tend to like his big commercial movies such as the Hellboy series rather than his smaller stuff, like Pan’s Labyrinth (goodness knows why I couldn’t appreciate that film... it had everything I’d want in a movie in it except, perhaps, for something which could trigger an emotional response in me) and so Pacific Rim should have been right up my street... and it kinda was. I just didn’t have as much fun as I was expecting from it... and certainly not as much fun as other people have, by the sounds of it.

Looking at it, it might be my response to Del Toro building an absolutely credible world from his ridiculous premise and then further populating it with a cast of actors who are absolutely convincing and, with the exception of Charlie Day, Torchwood’s Burn Gorman and the ever watchable Ron Perlman, totally serious and in no way tongue-in-cheek when it comes to playing their parts. This means I was totally watching it with my serious head on for a lot of the time, except when the three actors above were hamming it up beautifully in their scenes. I was thoroughly invested in the characters in this film and also the stakes they were playing for (the end of humanity) and that’s certainly not a bad thing... it just didn’t feel like fun, is all.

This is not, of course, to say that Pacific Rim is a bad movie. It’s certainly not a terrible film and it is a thing of spectacle and, to a certain extent, wonder. The fight scenes with the jaegers left a lot to be desired in that I couldn’t figure out what was going on half the time, though. The editing was just too... um... choppy for me. But I could get a sense of it and it all looked mighty impressive. Also, the relationship between the two main protagonists played by Charlie Hunnam and Rinko Kikuchi was good but I would have liked to have seen a lot more of it and developed the underlying romance that was obviously there between them. I would also have liked a lot more fleshing out (there was a little of that but not enough) of Idris Elba’s character, who is another actor who tends to dominate whatever movie he’s in.

I think this highlights my main problem with the movie actually. Everything was just not quite enough. Especially since the story I thought the film was going to tell was completely dealt with within the first ten minutes of the movie as a pseudo recap to get you up to speed with the world these characters live in. However... after doing that the first time, the film then did proceed to tell me exactly the same story again, but with more urgency to it. I wish, in fact, the film could have been the story which is described as it was in the first ten minutes, because then we could have had the appearance of the initial kaiju monsters and the move towards the construction of the jaegers to deal with them and, from them, a champion set of pilots could arise... and this film we have now could have been the inferior sequel.

But... I don’t want to stomp all over this movie Tokyo-style because Del Toro has realised a great achievement here and he’s got something which could re-trigger a resurgence of kaiju movies, if we’re lucky. Also, Perlman’s performance as Hannibal Chau is pitch perfect and as over-the-top as you’d like. It’s worth the price of admission on its own, never mind the monster robot carnage... which is at least better handled than the action sequences in the confusing Man Of Steel from earlier in the year. Saying that, there’s a big underwater battle towards the end which had me totally baffled as to 1) how the things taking place could be happening under water and 2) how the sound design for the under water sequences made any sense whatsoever. Seriously, the lack of “physics logic” kept popping me right out of the movie during these sequences.

On the other hand, the musical score by Ramin Djawadi (no stranger to composing music for characters in metal suits) was one of his best scores to date and will be an interesting listen as a stand alone element, I suspect. It held its own fairly well when pitched against the “noisy as hell” sound design in most places, so that’s definitely doing its job as well as it could under such circumstances, I would say.

Pacific Rim succeeds as a film, I think, but I’m not sure its the kind of film which would bear much repeat viewings. All in all, I’d personally be watching classic stuff like Invasion Of The Astro Monsters or the original version of Terror Of Mehagodzilla, truth be told, but I think Pacific Rim will certainly find an audience that loves it and may even become a classic itself for future generations. Not a bad movie to spend time with on a weekend I think although, if you are going to go see it, make sure you stay sitting tight until halfway through the end credits for a great little reveal scene. It might be important if they get around to making a sequel.