Archive for Film & DVD Reviews

Blade Runner 2049

bladerunner2049Directed By: Denis Villeneuve
Written By: Michael Green, Hampton Fancher
In Theatres: Oct 6, 2017 Wide
Runtime: 164 minutes
Studio: Warner Bros. Pictures

Blade Runner 2049 is certainly a worthy sequel to the original for many reasons, including it’s stunning visuals and cinematography.

CGI is used only when really needed and it’s convincing even to the well trained eye.

The lighting used in the film was absolutely superb and in places it all felt very real an atmospheric but yet still different, showing a dystopian world.

There are a number of moral issues with Artificial Intelligence that the film touches upon and it left me asking myself what humanity actually is and how humans have an ability to completely and knowingly discard their humanity. This even when furnished with the knowledge that an artificial intelligence would highly likely seek/cherish humanity in it’s quest to be more human.

I could not help but notice that there was a critical message about the human pests ruining the environment with their throwaway culture. This manifested itself in the plot in a subliminal way.

Another re-occuring theme in Blade Runner 2049, is a retreat from the outdoors to inside, possibly setup as a pointer to humanity’s lack of respect for the outdoors.

I didn’t tire of the pace in this 2h 43m film and slowing things down really did seem to demand more attention from the viewer.

All of the actors and characters played out perfectly, with a good script.

The only criticism I could possibly make about this masterpiece, is that it would have been nice to have seen more of the residents that inhabit this dystopian world.

It certainly is a film that I would love to see again, just to make sure there wasn’t anything I missed, especially on the philosophical front, though not at the Reel cinema in Burnley, as the experience was marred by a broken bass speaker!

Reviewed by Chris Barnett

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Dunkirk (2017)

PG-13 | 1h 46min |

Director: Christopher Nolan
Writer: Christopher Nolan
Stars: Fionn Whitehead, Damien Bonnard, Aneurin Barnard |

dunkirkDunkirk is an intense film experience. It shows the Dunkirk evacuation through the perspectives of those waiting on the beach, those on the sea and in the air. The action isn’t focused on a single individual or group. That’s alienated some who are used to finding out about a protagonist and following them. It worked for me, however. It’s the action that hooks you in.

The action starts quickly as a squaddie named Tommy (Fionn Whitehead) runs through the streets of Dunkirk trying to make it to the beach. As he runs and climbs over walls and gates he is being shot at and people are dying around him. It’s gripping stuff and there are moments of tension and dread like this throughout the film. The cinematography and music score (from Hans Zimmer) complement the action.

Dunkirk is not a glorification of war. It doesn’t use a lot of blood and gore but, instead, shows the way war can break the mind of a serviceman (as with the traumatised officer played by Cillian Murphy), take loved ones away and bring out the worst in people as they struggle to survive. Dunkirk also shows how the best in people can also appear. If the film has heroes it is those who are trying to save people from death. Mr Dawson, played by Mark Rylance, has a calm determination. The most inspiring parts of the film, for me, were focussed on ordinary people, like Mr Dawson, the blind man at the Railway Station helping the returning troops and, of course, when the floatilla of small ships arrive in Dunkirk. That’s an incredible moment and the score underlines it with a slow rendition of the most popular movement from Edward Elgar’s Enigma Variations – Nimrod. It’s particularly appropriate as this movement is performed on Remembrance Sunday before the Cenotaph to commemorate “THE GLORIOUS DEAD”.

Dunkirk is a great film. My only reservation is that women aren’t featured much. I realize that it is a historical piece but their almost complete absence is noticeable. That aside I did come away feeling proud of the French who helped cover the retreat (many of whom lost their lives) and of the quiet determination of the ordinary British people who were there when they needed to be. I think the film gets the British or, at least, how we would like to think we are.

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T2 Trainspotting (2017)

*SPOILERS OF T1*

trainspotting2I’ve always said that nostalgia was the drug of choice for most people in the UK. Trainspotting was about the addictive, attractive and destructive nature of heroin.

T2 is about the warping melancholy of re-living, relishing and remembering the past. It’s a past that is re-imagined and glorified by the characters. Begbie (Carlyle) has an expression of joy as he moves his hands whilst recalling slashing someone with a knife.

We last saw Renton (McGregor) legging it with most of the £14.000 of ill-gotten loot he was meant to split with his pals. 20 years on he has come home to Edinburgh.

Sick Boy, (Jonny Lee Miller) batters him at their reunion and if you remember Begbie you can probably guess his reaction. Spud (Bremner) is friendlier but then he was left his share of the money.

There is a nominal plot about plans to convert Sick Boy’s run down pub into a brothel (or sauna as they prefer to call them in Edinburgh!) but that’s not really the heart of the film. The key part of the film is the relationship between the four male characters. Female characters don’t really get much of a look in. Anjela Nedyalkova, as Veronika, gets most time and is given some good lines (so is more than just eye candy) but this is really about the guys.

The guys haven’t matured much and are still mired in a swamp of their own making. glorifying the past. This sequel isn’t about how they have progressed but how little they’ve really changed. That’s the tragedy and the point. Of all of them it is Begbie who shows most insight. There is a moving scene with his Son where he confronts his own relationship with his Father. Tellingly, his wife is present but is just a bystander to this event. Sick Boy has ‘progressed’ from heroin – to cocaine. We see them in middle age wishing they were young again. They are at their most energetic when talking about the past or taking the risks they used to. It’s at these moments the film comes alive, Renton and Sick Boy trying to explain football to Veronika or the hilarious robbing of a Loyalist drinking club. There is real dark humour here.

T2 takes us, as viewers, on our own nostalgic trip in a clever playful way. With flashbacks to the original, Renton revisiting the “Choose Life” monologue, while the soundtrack revisits music from the original soundtrack with the twist that they are remixed versions or covers. That may be a subtle comment on the way the characters memories work.

The other stars of T2 are Edinburgh and the Leith banter/dialogue (as it was in T1). We see a lot more of it than in the original film. Not just Leith but even as far as the more affluent Meadows! It looks great (and it is).

Though T2 has a somewhat depressing theme but the humour and pace take the edge of that. It is a film that makes you think about nostalgia, friendship, betrayal, addiction, risk – in short ‘life’. Choose it!

Reviewed by Pat Harrington

See here for his review of Trainspotting 1

Director: Danny Boyle
Writers: John Hodge, Irvine Welsh (novels)
Ewan McGregor
as Mark Renton
Ewen Bremner
as Spud
Jonny Lee Miller
as Sick Boy
Robert Carlyle
as Begbie
Kelly Macdonald
as Diane
Anjela Nedyalkova
as Veronika

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Ghost in the Shell (2017)

ghostintheshellGhost in the Shell (2017)
12A | 1h 47min

This live-action take on the anime original is not as deep and philosophical as the original. It streamlines the themes of the cult original Manga created by Masamune Shirow in 1989 but does honor its spirit (quite literally) and the 1995 anime film. Although it does not capture the unsettling, melancholic feel of the original. Fans of the ’95 film should go in with an open mind. Yes, the plot has been streamlined and it doesn’t have nearly the same level of information or attention to detail but, let’s face it, if it was the same as the animation it would be attacked as an unnecessary remake!

The plot remains the same: the mind of a human is rehomed in a technologically advanced body.That body is provided by robotics corporation Hanka who want to create a squad commander for a government counter-terrorism force, Section 9. This human/robot hybrid becomes ‘Major'(Scarlett Johansson). Major and her team are hunting Kuze (Michael Pitt), who is assassinating Hanka scientists for motives which are, at the start, unclear.

The action is set in “New Port City” which some have compared to “Blade Runner’s” Los Angeles – although I agree with film critic Mark Kermode that it is more like the setting of The Fifth Element (1997). Visually, this film is a feast with great sets, costumes, and images that stick in your mind.

There is a very good cast with fine performances from Batou (Pilou Asbæk) and Takeshi Kitano as Section 9’s Chief, Daisuke Aramaki. The casting has caused some controversy. There were objections on the grounds that an Asian or Asian-American actress hadn’t been cast to play a character who was Japanese in the original (albeit of a cartoon of a brain implanted in a robot body!). Others took a different view. Sam Yoshiba, director of the international business division of Kodansha, the manga’s publisher, told The Hollywood Reporter, “Looking at her career so far, I think Scarlett Johansson is well cast. She has the cyberpunk feel. And we never imagined it would be a Japanese actress in the first place.” He added, “This is a chance for a Japanese property to be seen around the world.” Mamoru Oshii, director of the original 1995 Japanese animated film, also endorsed the choice of Scarlett Johansson as lead. The film’s original director has defended the casting too: “What issue could there possibly be with casting her?” Oshii told IGN last month. “The Major is a cyborg and her physical form is an entirely assumed one.” Paramount pictures have said that the publicity focus on casting has harmed the film at the box office. Kyle Davies, Paramount’s president of domestic distribution, has highlighted “the conversation regarding casting” which he believes “impacted the reviews.”

“You’ve got a movie that is very important to the fanboys since it’s based on a Japanese anime movie,” Davies told CBR. “So you’re always trying to thread that needle between honoring the source material and make a movie for a mass audience. That’s challenging, but clearly, the reviews didn’t help.”

It’s sadly ironic that debates about ethnic identity should have impacted a film which is very much concerned with individual identity.

Whilst Major is an efficient (spectacular!) killer she is troubled by memory flashes of a previous life. The film, like the original, raises the question of identity and how far it is linked to memory. The mantra repeated several times: “We cling to memories as if they define us, but they don’t. What we do is what defines us.” fails to convince me. Memory does define us. Anyone who has seen someone suffering from Alzheimer’s could tell you that it is witnessing the loss of identity that is one of the most painful things to come to terms with. The person you knew, quickly or slowly, disappears. Despite the fact that I don’t accept the assertion that actions alone, not memories define us as individuals this is a thought-provoking story. True some of the big questions of the original are missing. When does a mind become a computer, at what point does a program become a mind? Once something becomes aware of itself does that change things? Still, how many action high-adrenaline action movies come with philosophy attached at all? Ignore the carping critics and go see it! If you haven’t already, make time to see the ’95 anime original too.

action movies come with philosophy attached at all? Ignore the carping critics and go see it! If you haven’t already, make time to see the ’95 anime original too.

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Logan (2017)

 

logan

A more vulnerable Wolverine/Logan

 

15 | 2h 17min | Action, Drama, Sci-Fi | 1 March 2017 (UK)

Logan is the 10th film in the Wolverine franchise. It’s very different from all the earlier ones. It’s 2029 and Wolverine/Logan (Hugh Jackman) is being slowly poisoned from the inside and is not recovering from his wounds as he used to. Logan is an alcoholic struggling with his life and past. It’s the first time we see a vulnerable and uncertain Wolverine. Professor X (Patrick Stewart) is in bad shape too, slowly losing his struggle with Alzheimer’s and ALS, which is a major concern when his mind is a weapon of mass destruction! Logan has a melancholy feel and deals with themes of mortality and deterioration. Alongside that are bloody combat scenes. Though the scenes of violence are stylised they are not comic book. The script has quieter scenes which establish that the death of characters matter and that there is pain and suffering. Because we see Wolverine now as vulnerable the stakes for him (and emotionally for us, the audience) are higher in every fight scene. Logan is a much deeper and serious film than any other in this franchise.

The plot is fairly uncomplicated. At the start, Logan is attempting to isolate himself from the outside world. He is doing fairly well until a woman appears with an urgent request–that Logan shepherd an extraordinary young girl (Laura, played by Dafne Keen) to safety. He becomes involved despite his intentions and the film becomes a chase/road trip hybrid.

Logan draws on Westerns. He is like the aging, lone gunslinger trying to tap what is left of his humanity and compassion to do the right thing in the face of what seems like overwhelming odds. These references are made explicit as Laura watches 1953’s Shane on TV and when words from that film are woven into the plot. The villains are clearly black hat. Dr. Rice (Richard E. Grant) and Pierce (Boyd Holbrook) don’t have many redeeming features but both actors turn in fine performances within the limits the script gives to their characters.

Logan has delivered for fans. It is an adult film which deals with serious issues and brings a realistic feeling of closure to the story. It was a brave gamble to make a film like this but it has turned out to be a winning bet.

Reviewed by Pat Harrington

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Moonlight (2016)

 

moonlight

Juan and the young Chiron

Initial release: 21 October 2016 (USA)
Director: Barry Jenkins
Screenplay: Barry Jenkins
Certificate: 15

It’s easy to fall into cliches or simplify when looking at the African-American experience. Bary Jenkins’ Moonlight doesn’t make those mistakes, however. His film portrays a man at three stages in his life. The man, Chiron, doesn’t fit stereotypes. We first meet Chiron at age 10, pick up his story later in high school, and then fast forward to reveal the man he has become.

Chiron (Alex Hibbert) is trying to understand his sexuality at all three points. He is different and his classmates realise this early on and bully him because of it. His home life in a Miami project is tough. His mother (Naomie Harris) is a drug addict and prostitute. His role models are Juan (Mahershala Ali) and his girlfriend Teresa (Janelle Monae). Juan is a local drug pusher. Yet Juan is a complex character who plays a sympathetic, strong surrogate Father for Chiron. Juan is not a bad person just a person who does bad things. None of the characters in this film are reduced to being symbols. Moonlight deals with the reality that drugs give dealers power and financial independence. Juan tries to teach Chiron the importance of not letting others label you or impose an identity on you. Chiron starts to reject his dismissive nickname ‘Little’ and even question why people give others nicknames.

Chiron (played now by Ashton Sanders) is still being bullied as a teenager. He is also still developing his identity (a major theme of the film). He has his first erotic experience with his friend Kevin (Jharrel Jerome). After this, he also starts to fight back against his tormentors.

About ten years later we see Chiron (Trevante Rhodes) again. He is physically much changed. Gone is the scrawny teenager being dominated by others. Instead, we see a physically powerful and dominant man. Yet this man is still grappling with his sexuality and trying to understand what it is to be a man. When he visits Florida from his new base in Georgia the scene is set for him to confront the question of who he really is.

I’m conscious that what I’ve written above may make this film sound depressing or indicate that its appeal would be limited. Neither would be true. Moonlight, despite what could be a bleak subject matter, is a positive film. Moonlight is a socially conscious film which shows the power of empathy and love. It is beautifully filmed and has at times a dream like quality. Even though it deals with a gay man coming to understand his sexuality it has a message that is more universal. It can’t be reduced to an ‘issue’ film about race or sexuality. At its core, the story is about how we, as humans but more specifically men, develop our identity. That’s why this film has general appeal and should and is being watched by a wide audience.

Moonlight made me think about how art can open our hearts and minds and give us a glimpse into the reality for others. Here I was sitting in a cinema in Edinburgh watching a compelling story of a black kid growing up in Miami. It’s a fine testament to the creators of this film that I was gripped by his story, drawn-in and never felt alienated or estranged.Nor did I ever want to judge but simply to understand.

I’d go further and say that not only does Moonlight deserve to be watched but because of its depth it deserves to be watched more than once. The list of films you can say that about isn’t that long!

Reviewed by Pat Harrington

 

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Suffragette (2015)

Directed by Sarah Gavron
Produced by Alison Owen and Faye Ward
Written by Abi Morgan
Starring Carey Mulligan, Helena Bonham Carter,Brendan Gleeson,Anne-Marie Duff,Ben Whishaw and Meryl Streep
Running time 106 minutes

suffragette_poster

A film that pulls no punches

Summary: In early 20th-century Britain, the growing suffragette movement forever changes the life of working wife and mother Maud Watts (Carey Mulligan). Galvanized by political activist Emmeline Pankhurst (Meryl Streep), Watts joins a diverse group of women who fight for equality and the right to vote. Faced with increasing police action, Maud and her dedicated suffragettes must play a dangerous game of cat-and-mouse, risking their jobs, homes, family and lives for a just cause.

The film is centred on the character of Maud (Mulligan) who lives with her husband and son and works in a laundry. The laundry is a terrible place with poor conditions and pay and routine, open, sexual harassment and assault. A co-worker named Violet (Anne-Marie Duff) encourages Maud to come to secret meetings run by Edith and Hugh Ellyn (Helena Bonham Carter and Finbar Lynch). Maud gets involved in the struggle. Maud loses a lot, personally, from her involvement with the cause.

Being a suffragette wasn’t genteel. It wasn’t just about writing letters to an MP or attending a meeting.

The suffragettes were angry, organised and militant. Their leadership affirmed and incited this. This film leaves you in no doubt that those fighting for votes for women were prepared to take direct and dramatic action.

The film shows how the suffragettes attacked both government and private property. For example, the attack on 1 March 1912, where about 150 women were given hammers, told exactly which windows to break, when to break them, and how to hit panes low so that glass would not fall from above.    At 5.45 p.m. in Oxford Street, Regent Street, the Strand, and other prominent thoroughfares, well-dressed women produced hammers from handbags and began to smash windows. The firms whose windows were
damaged included Burberry’s, Liberty’s, Marshall & Snelgrove, and Kodak. Police arrested 124 women.The damage was estimated at £5,000. The film also follows the women as they plan to attack the property of Lloyd George. At 6 a.m. on 18 February, 1913 the bomb set by Emily Wilding Davison and accomplices wrecked five rooms of his partly-completed house being built near Walton Heath, Surrey.

Suffragette also features perhaps the most famous incident of direct action: the 3 June 1913 disruption of the Derby where she was run down by the King’s horse, Anmer.

Her skull was fractured, and she died five days later without having regained consciousness. Suffragette depicts the huge and impressive funeral of Emily who was considered a martyr by the cause.

Of course the violence was not all one way. The government responded to the suffragettes with repression and brutality. The police had them under surveilance and sought to ‘turn’ some into agents. The scenes of women being beaten by police and force-fed in prison are harrowing. The suffragettes certainly fought back (Dr Forward, the medical officer of Holloway Prison which used force-feeding was assaulted by suffragettes using a dog whip).

Suffragette is an inspiring film showing ordinary women prepared to fight and sacrifice for their rights and those of others. How far their direct action advanced the cause of “Votes for Women” is debatable. Yet their determination and, yes, violence was certainly a strong part of a wider movement that eventually won. Of course it simplifies the complexity of events but, hey, they are telling a long story in 106 minutes!

Suffragette ends with a roll of dates showing when various nations gave women the vote.

Reviewed by Pat Harrington

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