Sunday, April 11, 2010

Film Review: Clash of the Titans [2010] [3D]

CLASH OF THE TITANS [2010] [3D]
DIR: Louis Leterrier
CAST: Sam Worthington, Mads Mikkelsen, Gemma Arterton,
Liam Neeson, Ralph Fiennes



Before we go any further, here’s the first thing to say about Clash of the Titans [2D in selected theatres]. It’s not in 3D. That’s absolutely, unambiguously, true for about 75% of the film, take your glasses off and you will see that the post conversion process which has been hurriedly done to allow this shoddy film to pretend that it’s in 3D had been applied to barely a quarter of the shots, and in those scant moments in which the 3D is utilised it is absolutely terrible. There’s no illusion of depth here, just three very distinct planes; foreground, middle ground and background. Director Leterrier has already compared the 3D effect to looking his film through a viewmaster, and frankly that’s being kind. It’s hazy, dark thanks to the 3D glasses and distractingly badly implemented. It detracts from the action scenes in particular, because of the technical problem that 3D still hasn’t solved; the fact that fast motion is often extremely blurry and indistinct. This is NOT a 3D film, in any sense.

Talking of things that aren’t three dimensional; ladies and gentlemen… Sam Worthington. Over the past 12 months Worthington has gone from being a nobody to Hollywood’s newest anointed action star. He combines half the talent of Arnold Schwarzennegger with none of the presence; he’s simply one of the blandest actors on screen right now. There’s nothing interesting either about Worthington or about his character Perseus. The only diverting aspect of his ‘performance’ is noting how wildly his accent skips around the globe, often crossing continents between words. Sometimes he’s broadly Australian (so much so that it’s a surprise he doesn’t refer to Gemma Arterton’s Io as “that gorgeous Shiela that keeps following me”) sometimes he unconvincingly attempts American, and sometimes, yet more risibly, British. The man has no ear for either tone or emotion in language. When he’s supposed to be angry (as he is for most of this film) it sounds more like he’s concentrating REALLY hard on ending an especially difficult bout of constipation and when he’s trying to convey warmth he just sounds bored, as if he’s reading from cue cards. It’s a performance so bad it almost approaches parody.

It’s hard to really blame Worthington for his terrible performance though, because the screenplay is an absolute trainwreck (involving, by the way, precisely no Titans) and nobody, with the exception of the effortlessly awesome Mads Mikkelsen, comes out of this thing with their dignity intact. I’m not sure whether I’ve seen the original Clash of the Titans, and certainly if I have my memories of it are lost among the thousands of other movies I’ve seen, but I understand that Gemma Arterton’s character Io is newly created for this version. This may explain why she’s so completely bereft of purpose. She seems to be some sort of oracle, cursed by the gods with agelessness (when you look like a 23 year old Gemma Arterton, I’m not sure that’s much of a curse) and she’s apparently been watching over Perseus his whole life. What’s really unclear is whether she’s real, only once does she interact with any other character, in a brief exchange with Mikkelsen which is so perfunctory and pointless that I could easily believe it’s a continuity error. So is she some spirit guide for Perseus, is she a real person or is she some supernatural being somewhere between those two states? The film doesn’t care; as far as it’s concerned Io’s job is to be gorgeous (check) and to spew raw exposition every ten minutes. Arterton does her best, but the dialogue clunks horribly and sounds more like readings from a five year olds book of myths than dialogue.

Liam Neeson and Ralph Fiennes are way too good for this movie. They both stand around in ludicrous wigs and beards, spouting raw exposition (roughly 90% of this film’s dialogue is exposition) and neither advances beyond a single note. Neeson bellows as Zeus, Fiennes hisses as Hades and Danny Huston looks vaguely embarrassed, and says one line, as Poseidon. Credit where due though, Mads Mikkelsen, who treats the film with the contempt it so richly deserves and seems barely to be trying, is so charismatic that even though he’s half asleep he steals the film and the strikingly lovely Alexa Davlos is well cast and gives a decent performance in a very small part as Andromeda.

The thing is, these things - the performances, the script - are crap because the film simply doesn’t care about them, it’s not about those things, it’s about loud noises, CGI and fighting. Louis Letterier is becoming, like his star, Hollywood’s action movie go to guy, and while his work is certainly more intelligible than that of Michael Bay, he’s no great shakes as a director. The effects aren’t bad (though the poor 3D does the integration of the CGI absolutely no favours), but there is little imagination in Leterrier’s shot selection and the action scenes never really excite. Part of this, especially in the scene in Medusa’s lair, is also down to the fact that the 3D glasses darken the film, sometimes to the point of obscuring action, but it’s really because Perseus comes across as a brat. At one point Mikkelsen points out just how many people are dying for Perseus’ petulant need for revenge, Perseus petulantly ignores him… My hero. This means that the hero isn’t heroic, the story isn’t engaging because we don’t give a tuppenny fuck what happens to any of these not quite characters (and also, frankly, because every beat of the film is predictable) and the CGI, while it might have been impressive to begin with, is very poorly served by the 3D conversion process. That’s not to say that Clash of the Titans will be good in 2D; it will still be boring, have exposition in place of character, and feature risible performances from almost the entire cast, in short it will be shit, but at least it will be shit you wont have to strain your eyes looking at.

Next Week

UK DVD [12/4]
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Raging Phoenix
I loved Chocolate; the first film starring martial arts actress Jeeja Yanin, and I’ve been enthusiastically aniticpating the arrival of Raging Phoenix for some time. On the evidence of Chocolate Yanin has all the power and flexibility of Tony Jaa, but also much more on screen magnetism and even a smattering of acting talent. This ought to be lots of fun.

Henri Georges Clouzot’s Inferno
Clouzot’s Inferno, about the jealousy that drives a husband out of his mind when he suspects his beautiful wife is having an affair, was never finished. A version of the film (an excellent version, which I imagine would make a great double bill with this film) was eventually made by Claude Chabrol, but this documentary tells the story of the original shoot (abandoned three weeks in) and features fragments of the footage Clouzot shot. It should be a fascinating unmaking of.


US DVD [13/4]
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The Daisy Chain
It’s a shame that this excellent British horror film, which I saw at its world premiere at the Raindance film Festival more than two years ago, is only now seeing a release, and that it is direct to DVD and, at least for the time being, only in the US. It’s a creepy little film, boasting strong performances from Steven Mackintosh, Samantha Morton and especially young Mhairi Anderson. It’s perhaps closest in tone to The Wicker Man (the original version, that is). Also, the cover art (shown above) has less than nothing to do with the movie.


UK THEATRICAL RELEASE [16/4]
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The City of Life and Death
Lu Chuan’s film about the Nanjing massacre has attracted some of the most admiring reviews of the year so far. It is, apparently, an extremely challenging film to watch (though not because, as with say Philososphy of a Knife and Men Behind the Sun, it revels in the violence of its times), but that’s to be expected of any film taking on these events. I’ve not seen any of director Lu Chuan’s previous work, but if what I hear about this film turns out to be true I think I may be seeking it out soon.


US THEATRICAL RELEASE [16/4]
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Kick Ass
As previously discussed, it’s better than the hype. No, really, I’ve seen it twice now, and I’ll see it again before it leaves cinemas. It’s just brilliant, make sure you see it so that in two years I can write about how amazing Kick Ass 2: Balls to the Wall is.


LINK OF THE WEEK
Movie-Censorship.com
This is a German site, so sometimes you’ll have to excuse their English (though, lets be fair, it’s better than my German, and probably yours too), but the content here is fantastic, and updated almost daily. The focus is side by side comparisons (including screencaps and running time info) of the different versions that many movies exist in, from official director’s cuts to never released workprints to (as the name implies) censored versions. There’s a huge amount of useful information here it you are a film fanatic.


24FPS NEXT WEEK
Back to normal service, with all your favourite features returning. The big news though is that on Thursday last week I recorded a guest spot with the lovely and movie crazy Super Marcey (of Supermarcey.com) for her Superpodcast. Our subject, which she graciously allowed me to pick, as the guest, was “Why haven’t you seen these movies?” and we discussed ten great movies that you (probably) haven’t seen. There should be a youtube trailer out soon and the full, roughly hour long, show ought to be out on Friday morning. Look out for it, either here or at Marcey’s site.

Saturday, April 10, 2010

Film Review: Samson & Delilah

SAMSON & DELILAH
DIR: Warwick Thornton
CAST: Rowan McNamara, Marissa Gibson



When were you most bored? What did it feel like? Midway through Samson & Delilah I wondered just how I could possibly review it. How, with mere words, I could communicate the sheer bludgeoning tedium of the experience. I’m not sure that I will succeed, but do me a favour, and picture this… Imagine you are attending an evening class, each class is an hour long, and there are ten lessons. The subject of the class is: “How to watch paint dry”, the dominant teaching aids are bar graphs, demonstrating how long paint will take to dry, given various states, surfaces and other variables. The charts are black and white. The class is being taught by Ben Stein (the teacher from Ferris Bueller's Day Off). This, I imagine, approaches being half as dull as the experience of sitting through Samson & Delilah.

The film begins in the Australian outback, in a scattered aboriginal community. The titular Samson and Delilah appear to be the only residents in their late teens. Samson (McNamara) sniffs solvents, and moons around after (well, stalks might be a more accurate description) Delilah (Gibson), whose only occupation is looking after her grandmother. She never encourages his affections, but when he’s thrown out by his older brother and her Grandmother dies the two go to the city together (why? Because that’s what it says, here in my script) and live on the street. The entire time they never exchange ONE SINGLE WORD.

I’ve said before, it’s not that I mind films about nothing, or films with little to no dialogue, but if you are telling a story which essentially just almost silently follows two people’s lives, with no real big events or larger sense of drama you had best make sure that those people are fascinating. It’s here (well, it’s almost everywhere, but notably here) that debuting director Warwick Thornton falls down. Largely by dint of the fact that neither of them speaks more than a handful of words. In Samson’s case it’s somewhat understandable; his brain may be affected by his solvent habit, but in Delilah’s it just feels unrealistic to the point of being silly, even if she’s shy, or traumatised, there are a mass of scenes here where it’s just totally unnatural for her not to speak (for example, she never exchanges one word with the older tramp who shares both his sleeping site and his food with them). Perhaps Thornton just isn’t confident in his ability to write dialogue, but if that’s the case then you bring in another writer rather than just having your characters be silent.

This silence, combined with the somnambulant performances of McNamara and Gibson, also means that neither Samson nor Delilah ever develops anything resembling a trait, let alone a personality. These aren’t characters. Like Twilight’s Bella Swan they are walking shells, spaces of totally pure vacancy, unencumbered by emotion or expression. Nothing happens in this movie (or, when it does, as when Delilah is kidnapped – oddly she doesn’t even appear to try and scream, which really is taking the silence motif a bit far – it happens almost entirely off screen), and so the running time is filled with endless repetition; Samson’s brother’s band play the same single refrain throughout every scene in the outback; Samson constantly has a cup of petrol under his nose; Samson and Delilah walk around aimlessly, saying nothing; the tramp tries to engage them, they stare silently into space. Look, you don’t have to be entertaining, movie, but DO SOMETHING.

Warwick Thronton is a cinematographer by trade, and the photography here is pretty good, but honestly, who cares, because this film is no more interesting for being nicely shot, the pretty pictures being akin to a pink ribbon, wrapped round the dog turd you’ve just been given for Christmas, I appreciate the gesture Warwick, and it’s a nice ribbon, but that’s still a turd you’ve wrapped it round.


More reviews tomorrow.

Thursday, April 8, 2010

Cinematters: Voting with my feet


When you go to as many films as I do (I’d be surprised if the total at cinemas wasn’t nudging 1500 at this point), you see some odd behaviour from audiences. There was the guy who, at The Blair Witch Project, threw himself out of his front row seat and crawled up the aisle, screaming “It’s fucking with my head, it’s fucking with my head” - a sight both scarier and more engaging than the film. There were the ten or more people who RAN away from Gaspar Noe’s IRREVERSIBLE. There was the guy who greeted the first line in Pan’s Labyrinth with “Subtitles? Fuck this.” Oh, and there was the time that my ENTIRE film class (bar myself and my teacher), one by one, walked out of The War Zone, a film they had only attended because I had, based on the book, recommended it. Walkouts are a part of moviegoing, a part which, for a long time, I had no time for - until recently I had only ever walked out of one film; a festival screening of Peter Greenaway’s The Cook, The Thief, His Wife and Her Lover - perhaps I’m just becoming cranky in my old age (I’ll be 29 in July), but I have begun to walk out of more films in the last few years (still, compared to the amount I see, a TINY percentage) and find myself tempted to do a runner more and more frequently.

So. As an audience member, is it acceptable to walk out of a movie? How about as a critic? When should you throw in the towel and when should you stay till the bitter, bitter end?

Almost ten years went by between my first and second walkouts, ten years in which I saw more movies than ever before, movies good, bad and (frequently) indifferent and sat through every one of them (including The Matrix Reloaded, which my friend actually tried to bribe me to leave. I stuck it out, foolishly saying, “it might get better”) but Into the Wild was a bridge too far. Now, I understand that a lot of people loved Into the Wild, and I was well aware of that reception before seeing it and so, when I began to hate it very early on, I really wanted to stick it out and write a scathing review of what I was beginning to feel was one of the largest, smelliest, most steaming piles of shit I’d seen in an age. I got 80 minutes in; the best part of the length of a full feature. At that point I had been engaged, for several minutes, in a debate with myself about walking out. I had even let the thought run through my head that IF I left then fate might have me hit by a bus. I walked out anyway, despite suspecting that, had I stayed, the film couldn’t have lasted more than another 20 minutes. I have seldom been so relieved as I was when I discovered that Into the Wild runs 160 minutes. I’d only been half way in, I dodged a bullet, and I wasn’t even hit by a bus.

Aside from the bus, the other thing that almost stopped me leaving Into the Wild (and has kept me in many other terrible films) was my writing. As a critic I believe that one should provide an educated opinion, but it’s also a part of the job to produce something that’s an entertaining read, and I thought that the fact that, for several minutes, I had been less focused on the film than I had one whether being mugged was a preferable option to staying in the cinema probably undermined my authority on the experience as a whole, and might not make especially entertaining or informative reading.


Here’s the other thing. If you’ve made a bad movie, and it’s not even interesting in its badness (and, to be fair to Michael Bay, while Transformers: Revenge of the Fallen is unquestionably one of the worst things ever created by man its catastrophic awfulness exerts a certain perverse fascination, in a way that, for example, The Descent Part 2, rancid as it is, just doesn’t) why the hell should anyone have to sit through it? Obviously, if I end up getting paid to write about movies, I’ll sit through everything, but until it’s actually a job why should I have to plough through something as utterly non-descript as Surrogates? That old argument haunts me… “It might get better”. Okay, true. The second half of My Blueberry Nights (Wong Kar-Wai’s pretty but, as far as I could tell, numbingly tedious, English language debut, which I walked out on after 43 minutes) might be a masterpiece, but honestly, if the first 43 minutes were sending me to sleep what are the chances of the last 50 or so being any better? And even if they were, could that really atone for the opening 43 minutes?

The bottom line? If you made The Proposal (which I didn’t walk out of, but wish I had) or The Ugly Truth (ditto) or Into the Wild you don’t deserve my time. Time is precious; I could be spending it buying a great record. I could be spending it eating a meal, I could be spending it with a friend, but I’m not, I’m spending it with your movie and if that’s the choice I’ve made then your part of the contract is to entertain, or in some other way engage me. It’s not that hard, really, in fact I’m BEGGING you to do it whenever I walk into a cinema, you’ll seldom find a person who wants you to succeed so much (yes, even if you happen to be Michael Bay) and frankly if you can’t manage it then I can’t see how you deserve 90 minutes or more of my time. As I get older I’m becoming less and less willing to waste time on bad movies that could be spent on good ones, and that being the case I suspect I’ll continue to very occasionally, walk out of films that utterly fail to engage me on any level.

Here, in case anyone cares, is a complete list of the films I’ve walked out of.
The Cook, The Thief, His Wife and Her Lover
Into the Wild
My Blueberry Nights
Speed Racer
[Awful, and the colour gave me a headache]
Where the Wild Things Are
The Blind Side [Dull, dull, dull. There was also the issue here of the people behind me, who became rather threatening after I asked them, very politely, to be quiet.]

Six films, out of around 1500, hardly a bad record, but I stand by it, and by the act of walking out (quietly, and without disrupting the film for anyone else) as a statement on your feelings about a film. Frankly, if anything, I ought to do it more often.

Excuses, Excuses

Hi. First off, sorry, I DO know how behind I am with the site, and I just wanted to explain why. I had very lazy Easter weekend with extended family, and straight afterwards, on Tuesday, I was back out seeing movies. With that out of the way I've spent the past couple of days prepping for something very special, which will be finished tonight and which you'll see probably at the beginning of next week. Trust me, it will be cool.

Anyway, I'll have my nose back to the grindstone tomorrow. At the very least there will be a review of Clash of the Titans [3D, 2010] and a Cinematters called "Voting With My Feet" about walking out of movies. Next Monday the Week In Movies post will cover two weeks, so I WILL get caught up on reviews. Thanks for the patience and, as ever, for reading.

Sam

Monday, April 5, 2010

Next Week

UK DVD
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Eloise: Not a great film by any means, but it’s lovely to look at and, despite a weak script, features strong performances from both Diana Gomez and Ariadna Cabrol. Full review here.


UK THEATRICAL RELEASE
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I Am Love: Anything with Tilda Swinton in the lead role is likely to be worth seeing, and this well received, Italian language, collaboration with director Luca Guadagino has been a passion project for her for ten years. The trailer makes it look beautiful.

Whip It! Drew Barrymore’s directorial debut, starring a collection of some of Hollywood’s coolest female talents, led by Ellen Page, looks likely to be exactly the sort of light hearted fun you’d expect from Barrymore.


LINK OF THE WEEK
The Agony Booth: There are quite a few sites online which, taking inspiration from the legendary TV show Mystery Science Theatre 3000 recap, in hilariously mocking detail, some of the world’s worst movies. Agony Booth is one of the older sites of this type, and definitely the best. Founder Albert Walker has put together a strong writing staff, whose choices of movies and TV Shows (in The Agonizer) to recap are varied and offbeat. For me, highlights include full length recaps of Santa and the Ice Cream Bunny, Night of Horror and Joel Schumacher’s Batman Forever and Batman and Robin and Agonizer features on Degrassi Junior High and the frankly unbelievable TV show Pink Lady… and Jeff.

If you, like me, have a soft spot for REALLY bad movies, then this site is for you.

Sunday, April 4, 2010

2010 In Review: 1st Quarter

I’ve been pretty busy, movie wise, during the first three months of the year so here’s a slightly irreverent review of the high and lowlights of 2010 at the movies so far. This will be a little different to the annual review of the year because I won’t be talking about just 2010 releases, everything I’ve seen for the first time this year is eligible for the awards.

Note: Most of the form this review takes is based on the monthly wrap up threads that AJ Hakari posts (and I contribute to) at Joblo.com

STATS
First Viewings: 98
2010 Releases: 41
Cinema: 41
Home: 97
Total Films Watched: 138

BEST FILMS
Cinema: The Princess and the Frog / Anonyma: A Woman in Berlin / Kick Ass
Best of the Quarter: KICK ASS


Home: Ball of Fire / Il Divo / Planet of the Apes [‘67]
Best of the Quarter: BALL OF FIRE



WORST FILMS
Cinema: Daybreakers / Percy Jackson and the Lightning Thief / The Bounty Hunter
Worst of the Quarter: THE BOUNTY HUNTER


Home: Smash Cut / Dead Meat / Piranha 2: Flying Killers
Worst of the Quarter: SMASH CUT



Best Actor
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Jean Poiret: COP AU VIN
Toni Servillo: IL DIVO
Olle Sarri: THE APE
Winner: Toni Servillo

Best Actress
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Saoirse Ronan: THE LOVELY BONES
Barbara Stanwyck: BALL OF FIRE
Nina Hoss: ANONYMA: A WOMAN IN BERLIN
Sylvie Testud: LOURDES
Chloe Grace Moretz: KICK ASS
Winner: Chloe Grace Moretz

Best Supporting Actor
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The seven professors: BALL OF FIRE
Nicolas Cage: KICK ASS
Winner: Nicolas Cage

Best Supporting Actress
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Anna Kendrick: UP IN THE AIR
Mo'Nique: PRECIOUS
Maggie Gyllenhaal: CRAZY HEART
Ingeborga Dapkunaite: FAREWELL
Alice Gautier: FATHER OF MY CHILDREN
Winner: Anna Kendrick

Best Director
Ron Clements / John Musker: THE PRINCESS AND THE FROG
Paolo Sorrentino: IL DIVO
Matthew Vaughn: KICK ASS
Winner: Paolo Sorrentino

Best Original Screenplay
Charles Brackett / Billy Wilder: BALL OF FIRE
Paolo Sorrentino: IL DIVO
Jessica Hausner: LOURDES
Winner: Charles Brackett / Billy Wilder

Best Adapted Screenplay
Max Färberböck / Catharina Schuchmann: ANONYMA: A WOMAN IN BERLIN
Jane Goldman / Matthew Vaughn: KICK ASS
Winner: Jane Goldman / Matthew Vaughn

Biggest Surprise
THE PRINCESS AND THE FROG
SOUNDS LIKE TEEN SPIRIT
GI JOE: THE RISE OF COBRA
KICK ASS
Winner: Kick Ass

Biggest Disappointment
A PROPHET
DEAD SNOW
GREEN ZONE
‘Winner’: A Prophet

Best Scene
The Funeral: THE PRINCESS AND THE FROG
The contract: A NIGHT AT THE OPERA
Hit Girl vs Frank D'Amico's goons: KICK ASS
The final shot: LOURDES
Winner: Kick Ass

Best Line
‘Francois Dillinger’: “I'm gonna wrap your legs around my head and where you like the crown that you are.”
Nick Twisp: “If that's okay with you.” YOUTH IN REVOLT

Otis B. Driftwood: “It's all right, that's in every contract. That's what they call a sanity clause.”
[Fiorello laughs loudly]
Fiorello: “You can't fool me! There ain't no Sanity Claus!” A NIGHT AT THE OPERA

Hit Girl: "Okay you cunts, let's see what you can do now." KICK ASS
Winner: Kick Ass

Services to Turd Polishing
[Best performance in a bad movie]
Marion Cotillard: NINE
Saoirse Ronan: THE LOVELY BONES
Stanley Tucci: THE LOVELY BONES
Joseph Gordon-Levitt: GI JOE: THE RISE OF COBRA
Josefin Ljungman: WARRIORS OF LOVE
Winner: Saoirse Ronan

Best Title
COP AU VIN
IN THE SHADOW OF THE MOON
KICK ASS
Winner: Kick Ass

The Eye Candy Award
[Pictured below as listed]
Marion Cotillard: NINE
Anna Kendrick: UP IN THE AIR
Julianne Moore: CHLOE
Alexandra Maria Lara: FAREWELL
Diana Gomez: ELOISE
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