Action

Taken 3

tom Action, Liam Neeson , ,

Yeah, some of the editing is a bit rough and yeah our action hero does not seem to like running much and let’s face it the plot is rubbish, seeming to grow as the movie went along. One almost gets the feeling that the words “Let’s try this here” were used a lot in the scripting. Now that’s the negative out of the way, let’s look at the facts.

This is a EuropaCorp movie, Luc Besson (Lucy 2014) is one of the co-writers so we know what to expect. The movie itself is directed by Olivier Megaton (Transporter 3, 2008) and opens on familiar territory. Once again based around ex-CIA operative Bryan Mills (Liam Neeson, A Walk among The Tombstones, 2014) and family. Almost in the opening shot we learn daughter Kim (Maggie Grace, Lockout, 2012) is pregnant and not long after we see how Bryan and Lenore are on the best of terms. Indeed we soon see how she is having difficulties in her marriage to her current husband, Stuart, (Dougray Scott, Hitman, 2007) and pretty soon after that Lenore is found dead in Bryan’s apartment. What does this have to do with Russian mafia? No sooner than our hero gets home to the site of his ex-wife’s dead body do the police show up. He quickly escapes from them and so the hunt begins.

Our Hero is helped by the fact that the Detective in charge( Forest Whitaker, The Butler, 2013) is actually “smart”. I say helped, you’ll see why as the movie progresses. So now the fun begins. Whereas in the previous offerings the chase was a private affair almost, here we almost have a mix of two movies – The Fugitive (1963, 1993) and Taken (1 or 2). It helps that being ex-CIA and still having friends in the business means he is not alone. On the run, being chased by would-be killers and trying to find answers (sound familiar?), Mr Mills begins his traditional search and destroy. Of course no Taken would be the same without a variation of “I will find you” which I’m glad to say we have here.

This is a typical EuropaCorp vehicle, light on the brain, set piece moves and just enough of a plot and general action to keep the watcher happy. If I have to make one negative comment it is that I felt the plot was being developed as the team went along with the filming, but that said it still worked. Sam Spruell, (Good People, 2014) works well as the Russian ex-special forces bad-guy.

Without ruining the plot, the movie ends with the by-now traditional scene of family bonding on the pier. Watch it, enjoy it and remember it is only meant to be fun.

*** It does what it says on the label.

A Most Wanted Man

tom drama, Irna Lenz, Philip Seymour Hoffman, Spy THriller , , , , ,

Based on a John le Carré novel this movie director by Anton Corbijn (Control, 2007) is a good old fashioned spy movie, indeed it sits well along-side another Le Carré work – Tinker Tailor Soldier Spy (2011). Staring the late Philip Seymour Hoffman as Günther Bachmann in one of his last starring roles where he play the head of a specialist counter terrorism unit currently based in Hamburg. Bachmann has a history and many think his posting to Hamburg is a punishment for a mission which went wrong in Beirut, however there is the suggestion that the power-that-be are okay with this rumour as it gives him and his team cover to track down the subject of their efforts.

While Corbijn plays with the various inter-interdepartmental rivalries ( as well as political manoeuvres both within Germany and internationally with the Americans) within which Buchmann must operate he at least has the loyalty of his own team. This helps because a lessor director might have tried to add a level of intrigue, and that would have been bad. Buchmann’s second in command is Irna Lenz (Nina Hoss, Barbara 2012) and works the part well. She is calm and professional against Buchmann’s self-neglect, but the two are different sides of the same coin. It is never clear just how deep the relationship between them goes. One cannot but suspect that there is a deep friendship but their combined professionalism means nothing will happen. Other team members include Maximilian (Daniel Brühl, Rush 2012) who despite almost no script to himself, still manages to make his presence knows.

During his investigations Buchmann and team track an illegal immigrant from Chechnya (Grigoriy Dobrygin, How I Ended This Summer, 2010)who may or may not be a risk. Other departments want to arrest him, but Buchmann uses his connections to keep him free and followed. While this is happening his team are getting close to the money man (Homayoun Ershadi, The Kite Runner, 2007) they are following. On the surface everything looks squeaky clean, but something does not ring true with him.

Then a stroke of luck, it turns out that the Chechen has an interesting past, indeed so does his (now dead) father which brings him into contact with a private banker in Hamburg (Willem Defoe, The Fault In Our Stars, 2014). All of this is arranged through a human rights lawyer, Martha (Robin Wright, The Princess Bride, 1987) working with immigrants The excellence of Hofmann’s Buchmann is exemplified through his polite but yet condescending attitude to the banker, always calling him “Tommy” rather than “Herr Brue”.

As with any spy story there are twists and I don’t want to destroy any of them. Suffice it to say that the story brings you along fully and the acting, not least by Hoffman, Dobrygin, Defoe and Wright carries you along in an understated manner. This movie has a very European feel to it, not just because of cast and location but the lack of gun-play. The tension is psychological rather than purely violent. This works to the extent that when violence comes, it is short and sharp.

**** an excellent piece which will keep anybody over the age of 21 (mature enough not to need all of the cast murdered by half way through) happily engaged and entertained.

300: Rise of an Empire

tom 300: rise of an Empire, Action, CGI , , , , ,

Whereas most follow-on movies are either sequels or prequels , this movie parallels the original 300 (2006) allowing director Noam Murro (Smart People, 2008) and writers Zack Snyder and Kurt Johnstad the vehicle to run with Frank Miller’s material from the graphic novel Xerxes. What we see here is a continuation of the style first seen in 300 but a nuancing to actually make the work more watchable. The original scored through the visual effect and mythical character of the story-line while throwing vast amounts of testosterone across the screen.

What we see in this film is the story from “another angle”, Murro looks to the “back –story” of Xerxes’ (Rodrigo Santaro, The Last Stand, 2013) attack in to the Greek States. His attack is one of revenge having been manipulated in to the position by one of his greatest admirals, Artimesia, (Eva Green, Casino Royale, 2006) who works her manipulations in the shadows, removing anyone who would or could be of influence to the King. Green makes a worthy adversary to Stapleton

There are a number of “sword and sandals” productions out over the last 12 months, with the majority being rather poor, Noah (Darren Aronofsky, 2014) and Pompeii (Paul W.S. Anderson, 2014) being two examples. Noah for being too preachy and Pompeii for just being nothing great. Both had vast budgets and both failed to meet expectations, at least from my perspective. What we have with “300: Empire” is a director and writers who knew how not to ruin a work.

There is a good deal less of the mythical in this offering which is more focused on the battles. The movie works to set up the final dénouement from the very start; there is a story. The Greek states are being attacked, The Spartans are defending at Thermopylae, while General Thermistokles (Sullivan Stapleton, Gangster Squad, 2013) has assembled what he can of a Greek navy/army to meet Artimesia and here grand fleet. In to the mix of this Thermistokles is aided by his generals Aeskylos (Hans Matheson, Sherlock Holmes, 2009) and Scyllias (Callan Mulvey, rush, 2008) with an earnest Jack O’Connell (’71, 2014) playing Scyllias’ son Calisto who is more than eager to enter the battle despite his father’s natural reluctance, what follows is the usual plot line, it does not take from the film and adds a slight distraction.

Generally the work feels less theatrical than the original. The graphics and special effects are excellent and carry the film. Indeed the digital and physical staging needed for the naval battles works well. This movie will never stand tall on a plinth when it comes to the history of cinema, but it is not bad. This movie does exactly what it sets out to do; it tells a story in a graphical manner. It should be noted that the graphical nature of the movie is not just for the special effects, there are some gruesome battle scenes which when you consider the movie is 3D offer some gore for those who like their battles bloody.

Speaking of 3D, I am generally speaking not a fan. I have nothing against 3D but for the fact that it is often done poorly. That said, it worked here; adding to the overall effect. Watch the DVD or download, there are many worse things you could do with your time. Noah was barely a ** movie, so it seems a little callous to make this offering a *** star effort. But Noah was barely a ** while 300: Empire is firmly sitting where it should.

Batman: The Dark Knight Rises

tom Action, Hollywood, Uncategorized , , , , , , , , , ,

We’ve learned from all too many examples that the first of the franchise was the best of the set, with the sequels being poor imitations of feeble attempts to regain the position of the first. This has not been the case. Although I thought the second of the three to be Christopher Nolan’s (Inception, 2010) best, this is still a good movie. There were some raised eyebrows when Nolan announced he was hanging up his lenses in relation to the Batman movies, at the time I was also surprised, but after seeing the movie, I can see his point.  Rather than the franchise going on mindlessly he has chosen to build a character, or indeed a set of them, with a fixed story arc over the three movies.  The reappearance of so many characters through the movies shows the strength of linkage between each movie, these were more a series than a franchise.

This was a closing movie; a number of plot threads were closed and neatly dealt with, while some new ones were introduced, more on that later.  Although it is Nolan’s last offering here I don’t think it is the end of Batman…and Robin.  There have been some criticisms that somebody coming fresh to the movie would not fully understand some of the plot elements and characters.  Possibly but it is  bit like the Bourne franchise.  I had not seen the first when I saw the second.  I then went out and bought the first for all of the parts to fit together. If you by a book you do not start at chapter 8, likewise if you are going to watch a franchise movie, see the earlier offerings first to know what you are watching….

Christian Bale (The Flowers of War, Yimou Zhang, 2012)is the brooding billionaire drawn back to the role of Batman, I say “brooding” more like sulking in places, but as ever his character manages to work. Michael Caine (Harry Brown, 2009) was as ever the paternal Alfred always having a wise and careful word of advice.  Doubling with Cane was Morgan Freeman (Red 2010) who also co-paternally looked after Wayne’s interests, but this time from the technology side, again he manages to pull a few gadgets out of the armoury without ever giving us the impression he was a re-imagined “Q”. Marion Cotillard (Big Fish, 2003) as Mirranda Tate added a nice touch of class. Tom Hardy (This means War, 2012) played the necessary bad guy.  What is interesting here was that it took me some time to recognise him.  The acting was stunted, as the character possibly needed, but you have to hand it to Hardy for his ability to constantly change his physical appearance. Anne Hathaway (The Devil Wears Prada, 2006) has certainly matured and was exactly what we expected as Catwoman, not all bad, with tough of a good streak to win us over. Some of the supporting cast like Nestor Cabonell (Lost 2007-2010) and Matthew Modine (The Browning Version, 1994) I felt did not quite work. That said Cillian Murphy (In Time, 2011) back as Dr Jonathan Crane, gave a performance which reminded me of the beggars’ court in Fritz Lang’s (The Blue Gardenia, 1953) “M” (1931). This was one of the few parts where the dystophic atmosphere  created by Nolan actually worked.  The use of Joseph Gordon-Levitt (50/50, 2011) was certainly a bright part. That said is appearance and possible development became obvious very quickly, sadly it took to the closing scenes to confirm what we thought, and so the possible re-launch of the franchise. I can’t not mention Gary Odlman (Tinker Tailor Soldier Spy, 2011) as Commissioner Gordon who delivered the fighting character we’ve come to expect, a far improvement on the original quasi-comedic characterisation.

The plot is if course; bad guy tries to take over and/or destroy Gotham and Batman has to save the day…all fairly standard really. Overall a good piece of entertainment, even if it did sag a little just past the middle. It will be interesting to see how the Batman and Robin story develops. All in all not a bad effort; not a perfect film, long in places but well worth watching

Rating 7/10