On the tube to work this morning this poster caught my eye, I’m not sure what could have drawn me to it.
On closer examination it is a clever viral for the new Total Recall movie. I suspect after the success of the Prometheus viral campaign we may see a few more blockbusters splashing their marketing cash in the same manner.
If you spot anymore let us know.
I love it when TV surprises you. Genuinely that is.
While there is plenty of good quality drama out there, mainly from the US, it’s rare that something so subverts the medium of telly that you really can’t tell what it might throw at you next.
After recently finishing series 1 of British home-grown drama Hit and Miss, I can genuinely say this one kept catching me off-guard. The premise has received plenty of press, with transsexual hit wo(man) Mia (played without any sense of easy understanding by a wonderfully elusive Chloe Sevigny) coldly despatching John Doe’s throughout each episode, under the direction of her client, Eddie. We know little of Eddie other than he hangs out in bars and clubs up north, issuing death warrants to Mia with cold instruction. Eddie and Mia’s interdependence underpins the series. There is little evidence of mutual friendship, just raw need, which means they look out for one another without giving a damn.
But more central to the plot is that of Mia’s relationship to a motley crew of children living in a rundown farmhouse on a desolate moor. Early in the series, Mia learns that a former girlfriend, from her previous existence as a man, has recently died, handing custody of one of his own children, as well as three more (two teenage), to her. Yep – confusing, and complicated.
Somewhere, in her pre-op existence as a cold blooded killer, Mia must find the time to be a surrogate parent (mother or father?!) to the four children, dealing with some pretty meaty issues (try rape and murder) in the meantime, looking to find acceptance on every level of personal and social existence. Each episode follows the complex relationships that Mia forms with those who directly affect her life, fighting to gain the respect of her adopted family, while protecting them the only way she knows, with ruthless detachment. Sounds tricky? Well it is. It’s difficult to like many characters in Paul Abbot’s drama, and this is where it works. Apart from the kids, who are depicted as uncertain, angry, defensive, angelic and in serious trouble, there is little else to route for. Every time Mia allows you in, she despatches someone without a second thought, showing no repentance, after all, it’s just a job, paying to keep a roof over her news brood’s heads.
Plot strands link the episodes together, not dragging on. Six episodes felt right, but as with all good dramas, it leaves you wanting a second series to see how things work out.
Beautifully shot, with the cold moors as backdrop, this is un-mistakenly British drama that challenges. No heroes, no easy answers, just some uncompromising situations in which characters are trying to get by. Surviving Mia’s cold killer is beyond many, but it’s the mere survival of everyday that challenges each and every character in this series. I really do hope there’s more to come.
Not easy, or simple viewing. But then the best TV shouldn’t be, should it?
Film School Rejects is an excellent site devoted to films. Since we are still in the midst of debate about TDKR, I thought it was worth sharing some recent articles posted by FSR. After posting my mostly positive review, I have spoken to many people about TDKR. Some were overtly positive about the film (fanboys so blindly in love with Batman, that I think they might need to invent a new porn subgenre), others who thought that the film was great but definitely flawed (like me, although it’s worth pointing out that The Dark Knight wasn’t perfect either), and some detail-orientated film nerds who let the films flaws ruin the experience for them.
For the record, I think that Bane’s voice was annoying, that there were plot holes, and that certain things didn’t make sense. But Nolan and co. got so much right in making the film, that ultimately that is what tipped the scales, and I enjoyed the film on balance.
The first article is 11 things that didn’t work in The Dark Knight Rises:
The second article is 11 things that did work in The Dark Knight Rises:
The third article is 11 things that were just okay in The Dark Knight Rises:
Plenty of food for thought there, and I think most of their points are broadly right. Here’s hoping that this is the first of many blockbusters that provoke such debate.
If you agree, disagree, or would like to add to any of the articles’ points, feel free to post a comment below.
Also, as one last treat, and speaking of raging fanboys, here’s the entirely self-financed trailer for a fan-film called Grayson. It depicts a world where Batman has been killed, and Robin steps up. The guy himself directs, writes, and stars. Perhaps surprisingly, it doesn’t look completely terrible:
So, no sooner does the first Man of Steel trailer play at the start of The Dark Knight Rises, does it become apparent that there are actually two different teasers. Ok, so they’re not that different. The footage is the same, they both contain a solemn monologue by a father figure over footage of a fishing Clark Kent. But which father figure? In one version of the trailer, Kevin Costner as Jonathan Kent narrates, and in the other, it’s Jor-El (Russell Crowe) his Kryptonian father. There doesn’t seem too much rhyme or reason behind the choice of which trailer plays at which showing. But either way, it’s clear that people don’t seem too excited about this Superman film. The gist seems to be that Superman is too powerful, the world more cynical now, that he’s just too, well, boring.
I can see why Superman would come across as a boring do-gooder to some, but here’s why you should be excited:
Christopher Nolan is producing. That’s right, Chris Nolan is bringing his Batman experience to bear, and he’s brought his co-writer from the Batman films, David Goyer along for the ride.
The cast? The convincingly superhuman looking Henry Cavill as Superman, alongside Kevin Costner, Russell Crowe, Diane Lane and Laurence Fishburne. Established acting heavyweights one and all. Except Cavill, maybe. That comes later.
Zach Snyder is directing, which might raise alarm bells for some, but maybe it’s time that Superman had a bit of kick-ass style? Zach Snyder has his flaws as a director, but when it comes to cinematic action, the guy knows what he’s doing. He’s an interesting choice to pair with Chris Nolan, who picked Snyder from the cream of Hollywood talent for this gig.
If nothing else, it’ll be different. This ain’t your father’s Superman movie.
Check out the trailers below, and let us know what you think about the film (coming out in 2013).
A film this hyped is hard to have an unbiased opinion on, and boy, has it been hyped. As I mentioned in my previous piece about Batman fanboys, two effects of this mega hype are that over-praise is spouted by loyal fans, followed by contrarians feeling the need to try and single-handedly rebalance the public perception of a film. Where’s the reality in this situation? Usually, it’s in between. So, with this in mind, the questions are: Is The Dark Knight Rises good? Yes. Very. Is it a fitting end to this box office behemoth of a trilogy? Indeed it is. Is it better than The Dark Knight? No, but only just.
Going back as far as 1998’s Following, Nolan’s films have displayed inventiveness at a story and script level that is rare in the mainstream. Christopher Nolan loves an idea then, and, apart from the thoughtful casting, the grounding in realism, and complex but coherent storylines, it is the introduction of ideas that has made his Batman trilogy more than just a superhero franchise. TDKR has a complex narrative bursting at the seams with ideas. So full of ideas in fact, that it actually ends up working against the movie, to the point where it falls behind The Dark Knight in the quality stakes. But, as I said before, only just.
In Gotham City, eight years have gone by since the events of TDK. The citizens have been at peace, and, after allowing himself to take the blame for Harvey Dent’s actions in TDK, Bruce Wayne (Christian Bale) has allowed his superhero alter-ego to fade from public life. Indeed, Bruce Wayne himself is a recluse, walking with a cane, sporting a beard and some grey flecks in his fair. The Wayne Corporation hasn’t been doing too well financially, but other areas of the city have. There’s an effective cat-burglar that comic book fans will recognise as Catwoman (Anne Hathaway), who bears witness to a coming storm. A storm that threatens not just Wayne, but the entire city of Gotham. This metaphorical storm is best personified by ideologically-driven main antagonist, Bane (Tom Hardy) whose brutal physicality alone gives an idea of the things to come. To say any more would be to spoil a wonderfully intricate plot, influenced by Dickens’ A Tale of Two Cities, which, in the style of the other entries in this franchise, uses the larger themes of our times to pull us deeper into the story.
The opening set-piece has deservedly grabbed plenty of attention, and, indeed, the opening 45 minutes is paced expertly, ebbing and flowing with an urgency that grabs you by the shoulders, and doesn’t let up for some time. Even when it does (which is understandable), the plot throbs with intensity. And by the time the final plot machinations start, followed by a fitting ending, it feels like you’ve lived through every rain drop of the promised storm. The intricate, idea-laden plot, at times threatens to spin out of control, is not as cohesive at TDK. A Tale of Two Cities concerns the American Revolution and the French Revolution, and the events of the latter in particular, are evident in the plot of this film. A scene set in the Gotham Stock Exchange, themes of economic bubbles bursting, and class warfare all make it unsurprising that Chris Nolan actually filmed sequences in the midst of the Occupy Wall Street protests. If Batman Begins was about emerging from the shadow of 9/11, and TDK a terrorism allegory, the TDKR deals with the economic disarray that has defined our times since the release of the previous film.
Against this broad, plot-heavy canvass, do the actors get to strut their stuff? It might be surprising to hear that, yes, they do. Michael Caine is allowed to display a greater range of emotion as Alfred than he has before, and he delivers his lines with the kind of honesty that such an extravagant plot needs. Anne Hathaway effectively high-kicks the fanboys’ concerns repeatedly in the face with a performance that displays physical dexterity and a great line in amorality-while also getting some of the best quips. Joseph Gordon-Levitt and Gary Oldman are able to escape some of shackles of the old ‘good cops trying to do their job’ shtick by giving their performances the nuance that lesser actors couldn’t. Tom Hardy’s voice courted controversy in early trailers, with some fans complaining they couldn’t understand it. I found him mostly audible, with a lip-curling accent apparently based on Bartley Gorman. His physicality is spot-on, and although he has a mask on his face for most of the film, is able to bring forth at least some performance with the rest of his body and his eyes. But this film marks what is, in my opinion, Christian Bale’s best performance in this trilogy. In the first film, he was hamstrung by the dead-weight of the hero origin story. In the second, the late Heath Ledger took centre-stage. Even though his performances were successful in the past, this film finally allows him more of a range, and he ‘rises’ to that challenge believably and rousingly.
As I’ve said, the plot is nearly pulled under by the weight of its ideas, but it does hold together-helped by excellent performances, and as a whole, is able to outweigh its shortcomings. Bane doesn’t provide the kind of gravitas that the Joker did in the previous film, and the plot probably wouldn’t give the Joker room to shine anyway. Directing action has been cited as a weakness of Nolan’s in the past, and although the film’s car chases and fight scenes go some way to dispelling that theory, an injection of action into the middle section of the film might have given the film more momentum.
The film ends in a fitting way, coming thematically full-circle, and echoing plot beats from previous films. In times where the 99% are deciding that it’s time the 1% pulled their weight more when it comes to solving the world’s problems, what Nolan seems to be saying is that we all have a responsibility to each other, and the world at large, to do what’s right, before it all collapses in on us. A throughly well-executed and thrilling conclusion to the series, I wait with baited breath for Nolan’s next move.
PS: Before the film, the teaser for next year’s Nolan-produced, Zach Snyder-directed Man of Steel played. All I can say is: epic.
1. Die Hard
4. Universal Soldier
Job done. That took (at most) about 30 seconds to think of. The much harder challenge was to think of four films which would be perfect, but are lesser-known gems.
So here goes:
1. Judgement Night
Stephen Hopkins directs Emilio Estevez, Cuba Gooding Jr., Jeremy Piven and Dennis Leary in an action-packed 90 minutes in which a group of friends get lost on their way to fight, and see something they shouldn’t have done. Get the pizzas in.
Described as possibly the best single-location action film of all time (Can’t think of many others, so it may not be the greatest of compliments, come to think of it). Bill Paxton and Ice T star, I don’t think I need to say anymore. Beers in the fridge.
3. The Last Boy Scout
Pretty much universally panned on its release, which is why it isn’t as well known as (in my opinion), it should be. Bruce Willis and Damon Waynes star in this Shane Black-penned Tony Scott-directed action movie. Crisps at the ready.
4. Happy Gilmore
OK so probably not exactly unknown, but for my money the one of the funniest films ever made. Somebody call a taxi.
To write this piece, I used IMDB to cross check some information about the cast. I was surprised to find that The Newsroom is currently scoring 8.8 out of 10. To put this in perspective; The West Wing scores 8.7 and The Sopranos 9.5. If you follow this logic, it is up there with the greats and should be judged accordingly. We all have friends that, upon meeting their other halves, think ‘I don’t know what they see in them’, and that reflects the way I feel about ‘The Newsroom’ at the moment.
Admittedly, there are flashes of Aaron Sorkin’s brilliance in the writing; the trademark intelligent, fast paced dialogue, especially between Maggie (Alison Pill) and Jim (John Gallagher Jr.) in this second episode is fantastic, but is surrounded by some otherwise bog standard filler.
What annoys me most? The obvious nature of the plots and the relationships. This week Will (Jeff Daniels) and his ex, Mackenzie (Emily Mortimer) have a disagreement about the running order, and if they should concentrate on viewing figures, or reporting the News. It is so apparent that by the end of the hour Will will have come round to her way of thinking that it is hard to maintain interest.
There is no edge, no surprise, not even any mild peril to make us concerned for the characters, or their story arcs. Truly great TV Drama has an edge and takes risks, for example: Prime Suspect, The Sopranos, The Wire, Mad Men … they all have characters which can flip on you at any moment and take you somewhere you couldn’t have imagined.
As I have said previously, it has very high production values and, on the whole is well acted, but 8.8? Come on! Seriously?
This really feels like Sorkin’s guide to making safe TV. I will give it a couple more episodes, but I’m warning you Sorkin, if it doesn’t pull up its socks, I will go back to watching Spiral. And I mean it.
The latest Chris Nolan Batman film, The Dark Knight Rises nearly upon us. A film so hyped and anticipated, it has reached and surpassed ‘event movie’ status. The early reviews have been devoured and dissected by fans of the previous films in the series. Even film fans who were not particularly keen on the previous films will look on with interest, as any film franchise this popular and successful will have knock-on effects on the industry for years.
The release of The Dark Knight Rises has also been accompanied by the news that the review-aggregator website Rotten Tomatoes, has had to take the unprecedented step of suspending comments on its The Dark Knight Rises reviews. This is due to the savage nature with which fans of the franchise attacked reviewers who either gave the film a negative review, or weren’t seen to be positive enough. This touches on another issue that I have with review aggregator websites, but I will deal with this in a later article. Many creative properties can engender this kind of reaction, and the internet really does give everyone a voice these days, a very democratic concept. But when it gives rise to these fundamentalist zealots calling themselves fans, is that a good thing? Why is it that this has happened with this film, and why now?
Chris Nolan’s Batman films have been huge successes, Batman Begins wasn’t the first superhero film, but was released in the first rush of superhero films that followed the success of the Spider-Man and X-Men films. It received strong reviews in the mainstream press, mostly pleasantly surprised that it was possible to make such a grown-up superhero film and was lauded by comic-book fans, developing a loyal following.
Fast-forward to 2008, and the release of The Dark Knight. The revolutionary viral marketing campaign, the intervening years of fanboy hysteria and debate concerning the identity of the Joker, the early death of Heath Ledger, and the well-timed drip feed of trailers culminated in the perfect storm that was the film’s cinematic release. What was different this time? The second entry in Nolan’s trilogy had genuine crossover appeal, and was praised for being a more intelligent and adult comic-book movie, with grown-up themes and a towering performance by Ledger as the Joker. By this time, fanboys upon fanboys had joined the army of Bat-fans. The financial success of the film, coupled with a burgeoning online community, nurtured by the viral marketing, had reached an almost virulently loyal state.
Like anything successful, whether it be a pop song, a work of art, or a film, there will always be contrarians, people who genuinely dislike the film, or those who find it hard to like something that is so overwhelmingly popular and hyped. It has always been this way, and it is the people who fit into these broad categories that lead the then-inevitable backlash. The internet has given a voice to everyone, and that is a good thing, but this voice can also be a force for evil.
So, back to 2012, and the release of TDKR. If you actually check the movie’s RT page, as of the time of writing, it holds an 87% ‘fresh’ rating, which is extremely high for a Blockbuster that will be so widely-reviewed. The general gist seems to be that the film has a very complicated plot that becomes hard to follow, lots of characters, and that it is a very long film in terms of running time. Both positive and negative reviews mention these points, and the positive reviews tend to be more or less 5-stars, whilst the less glowing tend to find those issues to be too problematic to really go as far as giving it a perfect score. Hey, we all know that making a threequel is hard, it’s known to be very difficult to maintain that quality. Regardless if the RT score, this film wil more than likely be seen as a great achievement, and the trilogy as one of the greats in cinema history. If anyone has any suggestions of good third entries, please leave a comment.
As this article in The Guardian recounts, the vitriol being directed at those reviewers who would dare be anything other than overwhelmingly positive about the film has been so extreme as to move Rotten Tomatoes to shut down the commenting facility for this film. The first time this has happened in the history of the website.
At this point, I should point out that I love the Nolan Batman films. I am a fan of the comics, and have been very impressed with the sheer creativity that Chris and Jonathan Nolan have exhibited in bringing this property to the screen. However the scale of adulation for the films sits quite uncomfortably with me, as they either seem to be overtly praised, or over-criticised in an attempt to balance it out. I look forward to the day when the debate will have died down, and I can watch the film without the baggage of fanboy flame wars echoing behind my eyes.
The point is this: the internet has given people a voice, but it allows them anonymity. When you hide behind the cloak of anonymity, and you have never met the person you are addressing, you are crueller and more zealous than you would if you were talking to them in person. Without the shackles of social convention holding you back, you are able to really let loose in your quest to best your opponent, they are the Joker to your Batman, and it’s up to you to take them down as soon as possible. The safety of Gotham’s at stake! Sometimes, you have to be the hero Gotham needs, not necessarily the one that it wants right now, so if it takes racist, sexist, foul-mouthed slurs to achieve the objective, then it needs to be done… Doesn’t it???
Congratulations, you are a hero. You have made a film-reviewer who just happens to not share your opinion on a film feel worse than they did before reading your comments. At this point, I’d like to point out that this all concerns a film that hasn’t even been released yet, meaning that the vast majority of these people haven’t even seen the film to have an opinion on it. This last fact makes the whole thing seem farcical, which it is. The internet is still a new medium, still developing etiquette and traditions, but this should never be acceptable, ever. It makes me feel ashamed that I like the same films as these people, and it needs to stop now.
However, this Friday, at 8pm, I will be at the Cineworld in Hammersmith with my tickets at the ready, and will I let it bother me while watching the film?
Not in the slightest.
I have to give credit to Ain’t It Cool News to finding this gem of a documentary trailer.
It looks like a fascinating film about the life and work of one of the most famous movie poster artists of all time. I don’t know this for a fact but I suspect his works of art have been viewed by more living souls than any other artist. He is extremely prolific and here are a couple of my favourite examples of his work:
I hope this gets picked up and released in the UK as well as the USA.