Kimo Stamboel's video game adaptation is a creepy thrill ride, just as much as it is a confrontation of the present and a Gothic Indonesian past.
Dave is an artist, worried he'll never create anything significant. That is, until he makes a cardboard maze which gets out of control.
A monk goes with several unlikely knights to find where the BLACK DEATH has been evaded in a creepy little village, possibly harbouring witches.
Not usually a fan of Marvel movies, this one thrilled me with exciting action & a surprisingly well-juggled ton of characters.
THE WINTER SOLDIER plays less like a Marvel film, more like a political action-thriller. And that's a-okay by me!
Refn brings his wild sensibilities to a dark fantasy epic involving the possible course of a Viking trip to North America before anybody other than the Natives set foot on its ground.
Sunshine. 2007. Directed by Danny Boyle. Screenplay by Alex Garland.
Starring Cillian Murphy, Rose Byrne, Chris Evans, Cliff Curtis, Troy Garity, Hiroyuki Sanada, Benedict Wong, & Michelle Yeoh. 20th Century Fox/DNA Films/Ingenious Film Partners/MPC.
Rated 14A. 107 minutes.
Ever since first laying my eyes upon Trainspotting, I’ve more or less knelt at the altar of Danny Boyle. His films are incredible, often very emotionally compelling and with lots of interesting things happening, no matter the subject. I’m a fan of most of his films, barring a couple that weren’t my cup of tea. On the whole, he’s fantastic. Particularly I find he has two talents: working with science fiction elements (even if he’s only really done that previously with 28 Days Later…) and working with human drama. Luckily, sometimes both of these crossover into one another.
Sunshine is such a film. There’s part of this story focused on the sci-fi plot, the idea of the sun beginning to burn out and mankind trying to find some way to reignite it, lest they be relegated to a world that will perish without its heat and power. The other part is about men and women, human beings, how we see the world and how we imagine what’s outside our own. Furthermore, Boyle and writer Alex Garland look at the human relationships which ultimately the fate of mankind will rely on should we need a crew like those abord the Icarus II to go on a similar mission. In addition to the great drama and the solid science fiction, Sunshine is a visual and auditory journey which many films of its kind aren’t often able to achieve. Garland gives us the interesting writing, as Boyle works his magic with the help of cinematographer Alwin H. Küchler to craft a gorgeous piece of cinema that stands up to some of the better efforts out of the genre in these past few decades.
I’m sure a good deal of right-wing leaning moviegoers will dismiss this as leftist propaganda. However, forget those types. This is a solid science fiction story. It has echoes of other films we’ve seen before, from Event Horizon to Alien. But Sunshine is very much its own tale. Alex Garland is a solid screenwriter, having already worked with Boyle on The Beach and 28 Days Later…, so that’s at least given them chemistry. And they use it to their advantage. Garland is great at getting to the raw emotion of characters, which is evident in the other aforementioned films, as well. When Capa (Cillian Murphy) must be the only one to go through the airlock, the interim captain isn’t happy, and this brings out a load of tension for a while that plays into the idea that humans aren’t all built equipped with the capacity to handle such tension. These are the situations of human drama that make science fiction better than just a ton of wild elements. Without this basic suspense and tension brought out through the humanity of characters (they don’t even need to be human just have to have heart), sci-fi can easily fall flat. This movie is served well by the writing of Garland’s characters, their development, and the situations in which they find themselves forced along their arduous journey.
Moreover, Garland has a good writer’s mind for action. Not every writer is as good with one as the other. Although, Garland breaks that open being capable of good dialogue, interesting characters, as well as making the story feel exciting by pacing things well, and adding in the appropriate action like he does here.
A few of the sequences are spectacularly adrenaline-filled. One of my favourites is the whole airlock scene, as the interim captain ends up floating off in space and freezing, his face cracking into bits. Sad, even if he’s an asshole. Then just the entire suspense of Mace (Chris Evans) nearly freezing to death too is thick enough to cut with a knife. The first time watching, I wasn’t sure he’d make it. Nice when action scenes aren’t simply big set pieces or explosions or anything like that, but rather built on suspense and tense developments.
Not only are the characters and the plot well written, Garland’s writing is given breath by the excellent performances. Cliff Curtis, ever a solid character actor, does such a good job as the resident psychologist, whose own obsession with the sun mirrors the villain Pinbacker (Mark Strong). Love Curtis and to see him here giving his all is one reason the supporting cast is as good as the leads. Rose Byrne and Michelle Yeoh are each excellent, as well. They add a great element to counter all the testosterone brought particularly by Evans. Speaking of him, he does well with his character, meant to be a hot-headed sort that wants to kind of push his way forward rather than sit around and talk. In that sense, Evans and Murphy’s characters are juxtaposed nicely. Murphy, as always, is a powerhouse, and he gives a quiet, thoughtful performance as the lead Robert Capa. On his back and through his perspective we encounter each twist and turn throughout Icarus II’s mission. There’s always an intriguing aspect to Murphy, both physically in his looks and in the way he acts. He can become many types, most recently wowing me in BBC Two’s Peaky Blinders. Here, he plays this young doctor, but one with a head on his shoulders, a conscience, so that Capa eventually goes through this trial where he’s put to the physical test, not just having to use his brain but also his body. Lots of great performances make this one entertaining bit of science fiction adventure.
There’s a bittersweet devastation about the finale. Sunshine takes you to a place of serious science fiction and drama, then twists it all up into something amazing, dark, exciting. Once we come to discover Pinbacker, the fifth crew member left on the Icarus II in its waning moments, the whole eerie angle of the story comes to light (pun not intended; pun hilarious, though). The final half hour has plenty of sweaty tension once more. This carries you right to a beautiful yet slightly sad conclusion. Either way, Danny Boyle and Alex Garland created one hell of a sci-fi picture. From the 1990s onward there aren’t a huge amount of sci-fi movies that I consider amazing. Some, yes. Not a lot. In my humble opinion, Sunshine is an amazing film. It is beautiful, strange, dark at times. Never will you find the pace too slow, nor will you feel as if excitement is lacking. With so many good performances and the writing tightly woven into an emotion-filled, tense, and wild story, it’s hard not to enjoy. Throw this on next time you need a science fiction injection. I hope Boyle will go back to the genre someday, as he has great chops for it.
A first-person shooter inside an action film inside a sci-fi story inside a whole lot of fun.
You don't dig PROMETHEUS? Well, Father Gore does— so buckle up!
Midnight Special. 2016. Directed & Written by Jeff Nichols.
Starring Michael Shannon, Joel Edgerton, Kirsten Dunst, Jaeden Lieberher, Adam Driver, Bill Camp, Scott Haze, Sam Shepard, Paul Sparks, David Jensen, Sharon Landry, Dana Gourrier, Sharon Garrison, Allison King, & Sean Bridgers. Faliro House Productions/Tri-State Pictures/Warner Bros.
Rated PG. 112 minutes.
When it comes to independent films, Jeff Nichols is a writer-director I’ve admired now for a few years. Shotgun Stories in 2007 was a great little movie that tackled the flawed masculinity inherent in Southern blood feuds as it examined two sets of half brothers in the aftermath of their father’s death. It also starred the wonderful character actor Michael Shannon, whom many have grown to love as of late particularly. Later, in Take Shelter again starring Shannon, Nichols took us into a highly psychological world that bent the limits of reality, begging us to wonder whether or not the events onscreen were real, or if they were just manifestations of the lead character’s troubled mind. Mud was an interesting, subtle look at people on the fringe, how they come together, and how they survive.
But now, teaming once more with Shannon alongside a slew of other wonderful talents from newer (Adam Driver) to classic (Sam Shepard), Nichols breaks out with an emotionally charged, intelligent, slick thriller that runs the gamut of family drama and adventure to science fiction. Midnight Special is a lot of things. Above all, it is engaging. In a day and age of remakes – some good, a lot terrible – big budget blockbusters without any soul, Nichols’ films are continually a ray of light. This is no different. There are many things to enjoy. And if I can suggest anything, go in without knowing anything. Even the plot. It won’t ruin things if you do, but the beginning is even more tense and filled with excitement if you’re relatively clueless.
And for that reason let’s just dig right in.
The plot is a lot of fun. Despite knowing from trailers that the film is heavily science fiction, there’s a very raw human drama to the opening few scenes. It doesn’t stop there either. As Roy (Michael Shannon) and Lucas (Joel Edgerton) rush Alton Meyer (Jaeden Lieberher) around from one place to the next, under cover of night, all we know of the situation for sure is that there’s a massive hunt for the boy, an amber alert, everything. So if you had no better idea it’d seem like a truly distressing situation. But slowly, Nichols lets the information trickle down. What starts and continues as a human drama also takes on elements of a larger, more complicated, complex universe that Nichols has created.
We’re introduced to people from The Ranch, the men dressed in suit and ties, the women dressed like Jehovah’s Witnesses. They all seem to have a strange fascination, or rather obsession, with little Alton. And the gravity of everything is so evident. Not only are Roy and Lucas transporting Alton extremely secretively, to the point of gunning down a cop early on, it seems the father is dead set on protecting the boy. There are a ton of things happening, too. In a movie that’s just a little shy of two hours in length, Nichols packs a good punch. All the different aspects of the screenplay are pretty well fleshed out without having to be too full of exposition. Plus, things get real action oriented past the half hour mark, which then takes the pacing to another level. The first thirty minutes are a nice, effective slow burn that picks up steam quickly heading forward.
When we finally start to see more of Alton and his powers, the whole movie gets infinitely more interesting. More and more, scene after scene, Nichols reveals further bits of the boy’s abilities. Yet there’s a cryptic nature to them until late in the game. We’re never cheated, but Nichols definitely draws it out. Expertly. The suspension and tension as the plot moves on at a steady pace really will get your heart rate up, in the best kind of sense.
Alton: “What‘s Kryptonite?”
Lucas: “It‘s the only thing that‘ll kill Superman”
Roy: “It‘s made up”
There is never enough Michael Shannon. He’s a talented actor whose work is consistent. Even in movies that aren’t so great (i.e Man of Steel, The Iceman, Premium Rush), his talent makes things more interesting, more credible. He can really disappear into a lot of different roles, which is why he’s best deemed a character actor. His strength is that he’s got the handsome look, though there’s something odd about him, too. He has an affable quality, then there is a dangerous, strange side to him that can come out just as easily. Here, he plays a devoted, loving father pushed to the limit. He is a father under special circumstances. So there’s all this conflict in his character, but above all he is a father who wants to protect his son, no matter what the cost. And he’s forced into a blind faith, all out of love for his boy. A great performance, well written role.
The rest of the cast are equally as excellent. Edgerton is a fantastic talent (also a good writer) and he plays well off Shannon. They’re very believable together, which is honestly something I never predicted beforehand. What I like is that Edgerton has the same kind of qualities as Shannon, except in a different way. He is at once that manly, tough-looking kind of guy when he wants to be, at others he has a sensitive quality. In addition, Kirsten Dunst is good here as the mother of Alton, estranged from Roy. I’ve long said she is a solid actor, having recently given a complex performance in Season 2 of Fargo. She adds an extra, intriguing aspect to Alton and Roy, as a family. That brings us more of the family drama that makes Midnight Special a more interesting science fiction themed film than many others out there.
When the action gets pounding the film never lets up. There are moments where it’s a chase movie, others the guns start to fly. Sometimes we get wild expressions of Alton’s powers. All the while, the cinematography by Adam Stone captures everything so naturally, and in turn beautifully, even in the moments of pure speculative fiction that happen throughout. Add to that some really great synthesizer score from composer David Wingo, and those moments of tension where things are tight, the pulse is pumping, they become more intense. Sometimes it’s a semi-homage to the 1980s, but most of all it is simply an effective bit of electronic music that serves to augment a film; like any good score should.
This is all around an excellent film in terms of its visual components and its sound, not just the score but also the design. There are too many moments to list really. But Nichols, as director, crafts Midnight Special into a beautiful piece of work aided by these two artists.
Absolutely a 5-star film. There are so many derivative science fiction works out there, in movies and literature. It’s nice to see Jeff Nichols take the initiative and make something different. He lets everything flow out organically, never pushing the plot too much or too far, but rather just allowing it to unfold. The science fiction, though utterly central to the story, is not always the most interesting element. The family, the cult at The Ranch, the relationship between father and son, the relationship between best friends Lucas and Roy; so many things take precedence over the presence of a little boy with sort-of-super powers. Everything comes together here and Midnight Special takes its rightful place near the top of the best list of modern science fiction over the past couple decades. Nichols turns this into something completely unexpected. By the time it’s over, you won’t know what hit you.
Deadpool. 2016. Directed by Tim Miller. Screenplay by Rhett Reese & Paul Wernick.
Starring Ryan Reynolds, Karan Soni, Ed Skrein, Michael Benyaer, Stefan Kapici, Brianna Hildebrand, Style Dayne, Kyle Cassie, Taylor Hickson, T.J. Miller, Morena Baccarin, & Gina Carano. Twentieth Century Fox Film Corporation/Marvel Entertainment/Kingberg Genre/Donners’ Company/TSG Entertainment.
Rated R. 108 minutes.
The only thing I’ve ever enjoyed that I know director Tim Miller was involved in is the way underrated 1995 Hideaway. Surprisingly, Deadpool is Miller’s first feature film. Not saying they shouldn’t have done it, but it blows me away they gave him the reins to this adaptation. The bet pays off. While this isn’t nearly what I’d call a revelation, as some people out there would have it be seen.
That being said, Deadpool is absolutely a solid, fun bit of cinema. A superhero movie technically, in category, there’s a bit more to it. The humour is better, obviously more nasty and foulmouthed than others. The action is wild, and at times a bit gruesome in an awesome comic book way. There’s a more interesting structure of storytelling that puts it above the other comic adaptations in Hollywood. Using the Rated R stamp, Miller, with a playfully devious screenplay from writers Rhett Reese and Paul Wernick, crafts one of the best superhero movies to date. I’m not a hardcore comic fan, not for a long time. But the Deadpool comics were some I read, as well as X-Men, Batman, and others. I feel like this adaptation was made not simply for nerds, but with the readers of the comics in mind – and taking into consideration they’re now adults. So away with the campy, light visions of superheroes and the villains they confront. This carves out its own niche.
For those who don’t know, Deadpool was Wade Wilson (Ryan Reynolds) once upon a time. He had a nice life brewing with Vanessa (Morena Baccarin). Then, he became riddled with cancer.
Conveniently enough, later he gets recruited to have some experiments done on him. The villainous Ajax – a.k.a Francis Freeman (Ed Skrein) – does it, destroys his face, makes him hideous.
Left on his own, Wade takes up the moniker Deadpool. He hunts down Ajax to try and take revenge for what’s happened to him. What ensues is darkly comedic, foolishness, nasty, and violent, as Deadpool slices, dices, joking his way from start to finish.
I have to say, above all else Deadpool is subversive. From the very beginning, even the credits are lampooning the seriousness of comic book superhero movies already out there – “Written by the real heroes here” is an awesome touch. But immediately this obviously sets itself apart from the regular pack of Marvel films thus far. The metafiction elements of the Deadpool comics come out quickly. Some of them are misses. One of the early Wolverine/Hugh Jackman references made me laugh out loud. A few of the lines were just crude and not actually funny. A lot of them were pop culture references and gags that definitely worked, and they were in the spirit of today – instead of sticking with references from the period of the comics themselves. The best is that Deadpool skewers the Marvel movies themselves even, or just poking fun at little bits and pieces. My favourite of those is when Colossus says he’ll take Deadpool to see the Professor, to which Deadpool responds: “Which one, McAvoy or Stewart? These timelines are so confusing.”
The pacing of the film is proper, as we’re almost introduced to the schizophrenia of Deadpool through how many jokes and foolishness are packed tight into the dialogue. I mean, Deadpool is a mile a minute, like the comics. And that’s due to the writing. How we’re introduced quickly to Wade as Deadpool then work back through his story, it’s more interesting than the way we’ve seen the stories of other superheroes in other films. Because the story of Wilson up until he becomes Deadpool is, if we’re being realistic, sort of cliche in terms of comic book characters – we recognize it especially because the whole thing rings bells re: Wolverine, just a different treatment (plus the comics had Wolverine’s blood used in the experiment on Wade, so, yeah). But that’s not a bad thing. Because it’s only that one component, then everything else becomes a subversive, edgy take on superheroes. As well as just downright balls-to-the-wall fun in a Rated R romp. Not that it makes any grand statements. Only that the writing is significantly different, and that’s refreshing. We even get Deadpool commenting on the genre within his dialogue, breaking the Fourth Wall as we go along. Then there are just completely hilarious, laugh out loud lines, such as when Deadpool calls Professor X a “Heaven‘s Gate looking motherfucker” and many more.
Wade: “Fourth wall break inside a fourth wall break. That‘s like… sixteen walls.”
I firmly believe nobody else in Hollywood could’ve played Deadpool. The character is too goofy, too fun, all while being annoying and charming wrapped into one. Ryan Reynolds was almost born to play this one role. He has the physicality, obviously, needed to play a superhero character. And no matter how funny I find Hugh Jackman can be, and James McAvoy too in a sly sense, the material of Deadpool is what allows Reynolds to knock it out of the park. His portrayal and the adaptation of his character to film are equal parts what make this so worthwhile. There are a few misses along the way in the writing, ones even Reynolds can’t save. In the end, though, the energy of his performance is undeniably infectious.
Over everything else, the screenplay for this film is what makes it so spectacular. While keeping certain elements of the superhero movie genre, Deadpool totally subverts it at the same time, making fun while being a part of the gang. It’s the oddball out at the party, just like its titular character. And that’s what makes it wonderful. Because the filmmakers simply go for broke.