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Daredevil (2015)
Outstanding series. Marvel's best work on TV by a country mile!
The first of four collaborations between Marvel Studios and online streaming service, Netflix, Daredevil is a fascinating depiction of good versus evil at its core.
Marvel's latest foray in television convinces beyond doubt: while Agents of S.H.I.E.L.D. has largely recovered from a sluggish start and sister series Agent Carter was a vast improvement, Daredevil fulfills its potential to the fullest. This transpires partly since this is the initial series to delineate an actual superhero, as opposed to newly formed characters.
First introduced in the Silver Age of Comics in 1964 by legendary scribe Stan Lee, the narrative follows Matt Murdock (Charlie Cox), a man who lost his eyesight to an accident when he was young. However, the mishap grants him heightened senses, which he is able to hone with help from his mentor, Stick (Scott Glen). A lawyer by profession, he takes it upon himself to fight crime not just in the confines of a court room, but on a pedestrian level, using his elevated faculties.
A cross between Batman and Spider-Man, or more accurately Batman without the resources or Spider-Man without the web slinging, Daredevil is best described as a glorified ninja. His intuition and feline like reflexes are shown particularly well. For instance, he is often seen using his audioception ability to overcome a lack of ophthalmoception sense.
The show pits Daredevil against Wilson Fisk (Vincent D'Onofrio), the nefarious king pin of crime. The latter is firmly in the ascendancy, rising from humble beginnings to orchestrate a crime syndicate tacitly, without exposure or consequence, that is, until the emergence of the titular protagonist. Proving that the head that wears the crown is indeed uneasy, the central conflict sees both men grappling for the soul of the city they love.
Another strength of the series lies in its portrayal of good and evil in its purest form. Longtime foes in the comics and faithfully represented on screen, both men have distinct visions for their city: while one wants desperately to eliminate the threat posed by corruption, the other is hell bent on creating a malfeasance monopoly.
Furthermore, both individuals make certain choices which craft their character: for example, both are defined by the loss of their fathers. Although the loss occurs in varying circumstances, the influence this bereavement has on both is the polar opposite.
Another captivating sub-plot finds our hero motivated but ridden with conflict and inner turmoil, constantly at odds with his violent modus operandi. Religion is sporadically shown as his savior as he struggles to embrace his destiny. A spiritual healing allows him to test his physical and emotional limits.
Being on Netflix means the producers do not need comply with rules of broadcast television. Each episode is brimming with close combats, usually brutal and bloody in nature. The expert direction and execution in all scuffles is worthy of much praise. Grounded in reality and comprised of an ominous tone, the program is never afraid to dabble in mature themes. The excellent writing is also manifested in the intelligent, compelling dialogue.
A 13 episode saga permits the story to delve deep into the personal journey and transformation of every character, each of which is sublime. The supporting cast consists of Foggy Nelson (Elder Nelson), a loyal friend and business partner of Matt; Karen Page (Deborah Ann Woll) a determined damsel who is employed by their firm; and Claire Temple (Rosario Dawson), a reliable aide of Matt. In a city torn apart by demoralization, all of the aforementioned characters are vital in his mission to fight this war.
Synthesized by former Spartacus show runner Steven DeKnight, it also illustrates the fallout from other Marvel properties, namely the climactic battle seen in The Avengers. Also, a multitude of Easter eggs, a delight for avid fans, are featured on a regular basis teasing past and future events. While DC Comics properties Arrow and Flash operate in a separate universe, Daredevil is another functional cog in the burgeoning Marvel machinery.
Daredevil shows plenty of promise for Marvel's future on this platform, particularly the forthcoming shows, all of which will ultimately culminate in a miniseries called The Defenders, much like its blockbuster brethren, the Marvel Cinematic Universe.
Fast & Furious 7 (2015)
Hype and dollars notwithstanding, not as good as Fast Five
The seventh instalment in the explosive racing turned heist franchise, which has surprisingly seen more mileage than expected, is finally upon us, a year later than scheduled due to the untimely demise of its lead protagonist, Paul Walker. The film is ultimately a celebration of his memory and his contribution to the long running series, which he launched in 2001.
Following their defeat of Owen Shaw and his team, the crew are able to enjoy their reprieve and lead domesticated lives. However, unbeknownst to them, they are now the subject of a crusade led by Shaw's sibling, Deckard Shaw (Jason Statham), who is seeking retribution for his brother.
Given the series' transition from racing to all out vehicular warfare, it is imperative that the action sequences are executed well. Therein lies the film's predominant success. If you thought the plane sequence on the longest runway known to man was a stretch, Furious 7 requires an even greater suspension of disbelief, what with airborne cars leaping across building, off cliffs and from an active aircraft as well.
In going overboard with the action, the story is considerably compromised in the process. A paper thin narrative is accompanied by the lack of palpable consequences for the principal characters. Somehow, they always manage to recover from every collision and accident unscathed, which makes proceedings credulous and less realistic. Moreover, the primary cast's vibrant chemistry and exotic locales spanning several countries is a prominent feature as ever. Sadly, Jason Statham is relegated to being a generic nemesis and lacks his customary swagger. The latest chapter also adds new blood in the form of veteran thespian Kurt Russell, Thai action star Tony Jaa, UFC athlete Ronda Rousey and Game of Thrones' Nathalie Emmanuel, all of which feature in glorified cameos.
The relentless flurry of action also includes several epic confrontations between certain characters. While the muscle men all lock horns, the pick of the bunch is a brutal altercation between two women, namely Michelle Rodriguez and the aforementioned Rousey. In a testosterone fuelled movie, it is a pleasant surprise that the latter shines through when afforded a larger role. All of the brawls are extremely well choreographed.
In a franchise which has always emphasized the significance of family and brotherhood, the final tribute to Paul Walker is particularly poignant. An emotional send-off is matched by a few resonating dialogues, representing a beautiful farewell to the actor.
Slick and stylish but devoid of much substance, the series is showing no signs of slowing down. While it won't be the same without Paul Walker, with three more sequels in the pipeline, the sky's the limit.
Avengers: Age of Ultron (2015)
Worthy sequel to Avengers
"Everyone creates the thing they dread", claims Ultron as he corroborates his emergence as a formidable adversary to the Avengers. A by-product of the Iron Legion from Iron Man 3, Ultron is an unhinged opponent initially created by Tony Stark to maintain accord. A physical manifestation of the detriment the team can cause, the AI goes awry and vows to ensure mankind's doom.
A sequel to the blockbuster behemoth The Avengers, the monolithic feature is massive in scope and epic in scale, an immersive experience best served in IMAX. Writer-director Joss Whedon is assigned the unenviable task of essentially culminating another phase of movies. The unlikely champion of the original, he is able to repeat the trick.
He excels at dabbling with a huge ensemble and crafting an intriguing premise, which merges multiple narratives into a singular, uniform anecdote. While the progression for each character is logical, new introductions are carried out seamlessly as well.
The usual suspects return in fine form and the new additions further supplement proceedings. Equilibrium is struck between all characters, each given their moment to shine. The female contingent is typified by Black Widow (Scarlett Johansson) in another authentic depiction and Scarlet Witch (Elizabeth Olsen), one half of a destructive duo with deviant abilities. Other pieces of the jigsaw include Vision (Paul Bettany), an android with fascinating strength. Furthermore, the titular foe is memorable and mesmerizing. Biblical in speech and imposing in ideas, Ultron is inherently unstable and views human beings as a plague worth decimating. Television veteran James Spader is an inspired choice to voice the sentient robot. The only qualm in his portrayal is that there isn't enough of Ultron on screen.
Although it consists of the requisite fireworks, the personal and intimate character moments render it more profound than generic action fare. While set pieces fade from memory, characters always endure. The chemistry between a charismatic cast and tender moments shared by their characters are what render the movie its soul. At its nucleus, it contains several intertwined smaller stories which are heartfelt and sincere.
The subject matter is also sporadically divergent in nature. New players upset the status quo and expose the soft core of the team. The group is forced to contend with friction and conflicts among themselves.
In terms of production value, cinematography is supremely executed: the visual aesthetic is excellent. A couple of one-shot sequences of the heroes in motion are supremely exquisite. Action is always in abundance, with an epic confrontation between Hulk and Iron Man's Hulkbuster armor the highlight.
A prevailing modus operandi for Marvel, the plot is laden with references to past and present events. While certain nods tie in to previous films, others tease forthcoming developments. As opposed to being shoehorned, the seeds are sown with finesse. The follow-up also contains several unforeseen surprises in store for viewers. An explosion of color and celebration of comic books, the film features an onslaught of mayhem at a whirlwind pace. Age of Ultron merges several genres such as action, drama, comedy and romance, which is likely to appease enthusiasts and pedestrian movie goers alike.
Sherlock (2010)
Simply Sublime
A contemporary spin on Sir Arthur Conan Doyle's legendary detective, Sherlock follows the famous sleuth solving mysteries in modern day London.
The titular character is played to perfection by Benedict Cumberbatch in a career defining role. Cumberbatch is highly meticulous, surprisingly patronizing and exudes a cavalier demeanor. Providing the perfect balance is Martin Freeman as Holmes' reliable aide, Dr. John Watson. The latter's mild-mannered depiction is the ideal foil for the former's arrogance.
Besides the efficient chemistry shared by the actors, the story telling; format; and direction also exceed expectations. For instance, Holmes' astute observations and scientific deductions are executed exceptionally. The interpretation to a 21st century setting is seamless and also pays homage to classic cases featuring the fictional investigative duo. A sublime blend of acting and writing ensure an engrossing and compelling watch.
Sherlock combines suspense, drama and comedy in equal measure. The renowned detective is also featured in other mediums currently but Sherlock has cemented the 19th century literary character's place as a pop culture phenomenon.
The Avengers (2012)
Best Movie Ever!
The Avengers serves as an introduction to one of the most iconic teams in comic book folklore. An alien invasion compels all superheroes to coalesce and tend to the extraterrestrial threat.
Marvel's ambitious venture works wonders and reaches a gratifying conclusion. Fan favorite director Joss Whedon is able to merge several story lines into a seamless unitary one. He injects humor to proceedings and creates a spectacle tantamount to a comic book in motion. Also, he embraces the roots of all characters at his disposal, such as their text book costumes.
Vibrant, fun and overwhelmingly entertaining, Avengers fulfills all prerequisites of a quintessential summer blockbuster. The alien assault is the crux of a sensational climactic battle, which features various 'money shots' and retains immense repeat value.
An epic and novel experience, Avengers is the envy of major studios now scurrying to emulate Marvel's flawless triumph. Despite a protracted build up and extraordinary expectations, the movie is a resounding success. It is honestly the most enthralling experience I have ever had in a cinema.
Agents of S.H.I.E.L.D. (2013)
Decent but there is definitely room for further improvement
The advent of Agents of S.H.I.E.L.D. marks a groundbreaking Marvel event which attempts to create another branch of the connective universe, this time in a weekly television format. Since the Marvel Cinematic Universe (MCU) has grown into a global phenomenon, the recently concluded series on Channel 4 warrants a meticulous diagnosis. The following is an attempt to dissect the strengths and weaknesses of SHIELD.
For the uninitiated, the acronym means Strategic Homeland Intervention Enforcement and Logistics Division. A brainchild of Avengers scribe Joss Whedon, there is no blueprint or preconceived notion for such a show.
Resurrected Agent Phil Coulson (Clark Gregg) leads a completely new team in a world which has witnessed an alien invasion and where superheroes are the worst kept secret. The series offered an opportunity to examine the lives of the ordinary players as opposed to the gifted ones.
An intriguing pilot showed promise for an interesting season ahead. Premieres in UK and across the pond on Disney's resident channel ABC garnered the biggest network drama debuts respectively. However, marred by inconsistencies and a decline in quality of narrative, with one decent episode followed by a lackluster one, excitement for SHIELD quickly dissipated.
One of the primary limitations of the show was its inaccessibility to Marvel mainstays such as Iron Man and Hulk, which may have proved a hindrance. Perhaps viewers clamoring for a glimpse of the aforementioned characters misconstrued the meaning of the show, since the premise was always to delineate the adventures of the agents and the influence of superheroes, not the other way round. Also, it is likely that the writers were expected to tread with heed to avoid affecting the continuity adversely.
This led to plenty of lip service and gratuitous name dropping from the Avengers franchise. While the link to the MCU was always the USP of the show, the writers exploited this connection ad nauseam, long before the series was able to forge its own identity.
Serving as a bridge from cinema to television screens, Clark Gregg was quite often the saving grace of the main cast. What began as a scene stealing cameo in Iron Man was now a full-fledged role as the face of SHIELD. Gregg was consistently able to inject proceedings with his charm and wit.
The initial story arc of Coulson's uncanny recovery, following his demise in the Avengers, also provided Gregg to flex his acting muscles. The rest of the principle cast was less fortunate in this regard.
Certain characters and even actors were clichéd and suffered from lack of development, despite adequate time devoted to establishing said characters. Only wildcard computer hacker Skye (Chloe Bennet) was the best of a bad bunch. Apart from Agent Coulson, audiences may have struggled to rally behind the remaining characters.
A forte of SHIELD was the potency of its guest appearances. The reprisal of various roles from the MCU such as Director Nick Fury (Samuel L. Jackson), Agent Maria Hill (Cobie Smulders), Sif (Jamie Alexander) as well as priceless new additions such as Agent Garrett (Bill Paxton) helped considerably.
You know the main cast is woeful when I rave about the stellar guest appearances and cameos. The principle cast often lacked the refined qualities of the aforementioned actors.
Moreover, the transition from movies to television provided scope of portraying an exciting connectivity to Marvel franchises, including specific episodes attributed to plot threads from Iron Man 3, Thor: The Dark World and Captain America: The Winter Soldier, all of which were coincidentally released around the inception of SHIELD.
Ultimately, SHIELD'S salvation lay in the arrival of Captain America: The Winter Soldier, which heralded a new dawn for the flat lining series. Those who have seen the excellent sequel will know that the collision of age old enemies Hydra and S.H.I.E.L.D., which resulted in wholesale decimation, was central to the plot.
The cataclysmic events of Captain America 2 coincided with SHIELD and paid off extraordinarily well. The conspiracy angle, a highlight of the second installment, was at the forefront of a vastly improved third part of the season.
Since the fate of the titular organization rested firmly on said intrinsic twist, it is likely the writers may have held back to properly exploit this unique opportunity. The twist elevated the show generally with the actors now able to exercise their range while the writers were finally able to provide intriguing plot twists.
Furthermore, tie-ins to Iron Man 3 and Thor 2 were predominantly fruitful. Additionally, the writers also paid homage to Marvel comics by including characters such as Deathlok, Graviton and Blizzard.
While the MCU has gained universal acclaim for its game changing concept, reactions to SHIELD have been mixed. The first half of the season in particular, left much to be desired from both cast and crew. The renewal for a second season offers the chance to rectify shortcomings of the primary season.
The third half of the season had rejuvenated the show considerably. Here's hoping season 2 follows suit.
How to Train Your Dragon 2 (2014)
Lacks the endearing quality of the original
The animation genre, despite being in a relatively nascent stage, is fast becoming prevalent. With over fifty movies in the last two decades, competing studios such as Pixar and DreamWorks Animation are consistently rendering animated fare. Needless to say, not all of the above are of a satisfying quality.
An adequate analogy for animated movies is their comic book counterparts. The latter has every major studio investing millions of dollars in CGI, which has paid considerable dividends. However, as is the case with animation, some products will always be better than others.
Sadly, How to Train You Dragon 2 falls in the inferior bracket. The major shortcoming of Dragons 2 is its lack of originality. While its predecessor was a breath of fresh air and retained endearing qualities in abundance, the new installment is a victim of sequel syndrome and missing a captivating spark.
Adapted loosely on its namesake books by Cressida Cowell, the narrative transpires after considerable passage of time, with unlikely allies Hiccup and Toothless' bond becoming stronger as a result. Furthermore, the Viking brethren have accepted dragons into the fold. The emergence of Hiccup's mother, long assumed dead and a new threat named Drago, a dragon hunter, and causes major upheaval for the duo.
A wider canvas and earnest story with emotional resonance prove significant. In a story about dragons, human sentiments take center stage. The film reinstates the essence of family and the variation of design and characteristics of the title characters are exquisite. Animation is driven by the potency of innovation and imagination and Dragons 2 is an excellent manifestation of such qualities. The dragon armada specifically merits an honorable mention.
Moreover, director Dean DeBlois tackles mature subjects such as the age old predicament of poaching versus preservation. Also, a one legged teen befriending a handicapped dragon is a fantastic metaphor for acceptance and forbearance.
Dragons 2 also adds Cate Blanchett, Djimon Honsou, Kit Harington and Kristin Wiig to the voice case although only Blanchett's talents are utilized competently. The others only enjoy fleeting dialogues at best. The accents are executed in a flawless manner, with the returning Gerard Butler the pick of the bunch.
While DreamWorks have produced a plethora of animated movies, they have not enjoyed the resounding success of standard bearers Pixar, whose stock in trade is an excellent animation aesthetic and unique storytelling.
An organic extension of the original and better than generic animated family movies, Dragons 2 is definitely bigger but not always better, unlike the original.
X-Men: Days of Future Past (2014)
Best X-Men yet
The advent of the outstanding X-Men: First Class (2011) revitalized the franchise and enabled a new sequence of stories to be portrayed. Based loosely on the iconic comic of the same name, Days of Future Past depicts another astonishing story.
In a dystopian future, mutants are facing extinction courtesy of Sentinels, robots designed for the solitary purpose of obliterating mutants. In order to prevent such mass genocide of their species, Wolverine must travel back in time and alter history before everything unravels.
Adjacent to a fascinating narrative, the stellar cast is one of the movie's USP's. Days of Future Past features Oscar winners like Jennifer Lawrence and Halle Berry and franchise veterans such as Hugh Jackman and Patrick Stewart. Furthermore, the eclectic array of thespians is completed by Michael Fassbender and the standout performer, James McAvoy.
Playing a desolate Professor X, McAvoy delivers a sublime performance. So often the major thematic thrust of the story, the central conflict between Professor X and Magneto is a recurring theme and provides excellent character moments between the two. The supreme dynamic shared by the duo is still intact.
The premise also allows an epic scope and features unprecedented action in the X-Men series. The sentinels provide a dominating adversary for mutants, which results in exquisite action sequences, both past and present.
Moreover, Days of Future Past also signals a return to form for director Bryan Singer, following his last outing in the comic book genre, the insipid Superman Returns. The X-Men represent some of Marvel's most enduring characters and this installment is an impeccable testament to that.
The writers also deserve an honorable mention: the difficult concept of time travel is handled well without glaring loopholes. Also, tying proceedings to actual historical events, such as the Cuban missile crisis in First Class is a masterstroke. The outcome is a more cogent and captivating story.
Yet another unique aspect of X-Men is its social relevance. It retains laudable cultural context and tackles universal themes of isolation and discrimination. The notion of mutants is an extraordinary way of providing societal commentary, pertaining particularly to racism and sexuality.
The latest chapter in the X-Men saga does have minor glitches though. The costumes or lack thereof, remain poor. Keen observers will also notice that the inconsistent timeline and continuity are in disarray as well. However, these represent only slight concerns and take little away from an otherwise pulsating movie.
Ambitious and engaging in equal measure, Days of Future Past is action packed, brimming with emotion and has the feel of a comic book come to life.
Godzilla (2014)
Epic is an understatement
Godzilla is another attempt by Hollywood to revive the giant after Roland Emmerich's juvenile version in 1998. In a more pragmatic depiction, scientific experiments gone awry lead to menacing monsters being unleashed. These beasts are pitted against Godzilla, leaving the fate of humans in the balance.
The latest Japanese gem to be reworked following success stories like The Ring and The Grudge, Godzilla represents a chance to resurrect the leviathan. The opportunity lies in the capable hands of Gareth Edwards. First and foremost, in his primary foray into blockbuster territory, Edwards excels in doing justice to the titular character.
Godzilla is a force of nature, the biggest ever seen on screen, dwarfing many skyscrapers and laying waste to his surroundings. The belligerent behemoth's appearance and movement are a sight to behold. Furthermore, his iconic roar and colossal scales, exhibited by employing extensive CGI, complete his sinister look.
The director clearly prefers building anticipation rather than front loaded action. His attempt at creating anticipation and a sense of awe is akin to classics such as Jaws and Jurassic Park, where the creature lurks ominously but still makes its presence felt. However, the director does entice the viewer with fleeting glimpses and references throughout.
Also at his disposal is a coterie of enormous talent, such as veterans Bryan Cranston and Ken Watanabe and also emerging actors like Aaron Taylor-Johnson and Elizabeth Olsen. The human characters are used as the focal point of the action. The makers place great value in establishing a sentimental element in the midst of all the decimation. Bryan Cranston is particularly effective as the doom monger and delivers the most compelling human interaction sequences.
Undoubtedly, the highlight of the movie is that Godzilla is on a collision course with other monsters. The resulting encounters are worthy of the price of admission alone. Also, the spectacle renders itself well in IMAX screens.
The story also pays homage to Godzilla's roots and legacy as a metaphor for nuclear proliferation. The writer's success lies in creating an aura of plausibility. As opposed to a ludicrous narrative, there is legitimate realism in the story.
The production value of the film also shines through: the cinematography, sound design and score are all executed well to provide a haunting effect. However, flaws do persist in the movie. For instance, the acting is found wanting in particular instances in the absence of the action.
Nonetheless, such failings are few and far between. All in all, Godzilla is a fitting tribute to the King of Monsters.
The Lego Movie (2014)
Made me want to purchase a lego and I did!
Hollywood has a protracted history of taking adored treasures of yesteryears and adapting them into feature films. Suffice to say, results have varied. Instances include the much-maligned Transformers series and the G.I. Joe movies amongst various others.
The Lego Movie is the latest attempt to bring a beloved relic to the screen. Its immediate success lies in not succumbing to the dangerous precedent of being blatant product placement. Featuring an original story, The Lego Movie is surprisingly heartfelt and authentic, as opposed to an exercise in brand expansion (looking at you, Transformers).
The latest offering from Phil Lord and Chris Miller, directors of the imaginative albeit poorly titled Cloudy with a Chance of Meatballs and the wildly rambunctious 21 Jump Street, follows the journey of Emmet (Chris Pratt), a construction worker who faces the unenviable task of saving the lego citizens from the evil ploy of the autocratic President Business (Will Ferrell). It becomes crystal clear that the directing duo has a great handle on comedy, as all the pieces fall into place (apologies for the pun).
An essential element of any animated feature is undoubtedly the voice work. Herein lies the movies' triumph. An impressive list of actors with expertise in the genre has lent their voices to the project. Among the standout performers are Will Arnett as the uber-awesome Batman and Liam Neeson as a schizophrenic police chief. The latter is not usually associated with comedy but delivers a pleasant performance nonetheless. Chris Pratt also excels as a reluctant hero thrust into the limelight.
Furthermore, another profound facet of The Lego Movie is the creativity and artistry employed by the makers, who have given meticulous attention to detail. Each frame is composed solely of lego bricks. In fact, the team of graphic designers painstakingly built this world using more than fifteen million lego bricks, before using CGI to achieve the finished product. The image quality is also genuinely enhanced by the use of 3D, which is not just a marketing gimmick.
Yet another quality of the animated feature is that it appeals to a wide ranging audience. Since it involves several amusing gags, is laden with pop culture references and even stimulates nostalgia for lego users, particularly the old ones, it is likely to garner appreciation from adults as well.
In the age of sequels, spin-offs and remakes galore, The Lego Movie is a welcome antidote. It does not act solely as an elaborate toy commercial nor does it render 3D technology futile. Instead, it exudes charm and wit usually associated with Pixar.
Much like its catchy theme song, The Lego Movie is awesome. It proceeds like a child's imagination running wild and serves as a throwback for adults who may have dabbled with their own lego sets back in the day.
Anchorman 2: The Legend Continues (2013)
Worthy follow up to a cult classic
The year gone by was kind to comedies: This Is the End; We're the Millers and The World's End were the finest comic capers 2013 had to offer. Anchorman 2: The Legend Continues is another decent addition to the aforementioned list.
The highly anticipated and much hyped sequel arrives almost a decade after the original. After being dismissed from his present job at the expense of co-host and wife Veronica Corningstone (Christina Applegate), Ron Burgundy (Will Ferrell) is offered an improved gig. He sets out to meet fresh challenges but not before recruiting his trusted news team, consisting of ladies' man Brian Fantana (Paul Rudd), intellectually challenged Brick Tamland (Steve Carell) and also Champ Kind (David Koechner).
Anchorman 2 represents the fifth outing of Ferrell and frequent collaborator Adam Mckay. It is apparent from the get go that both actor and director share the same wavelength. Similar to his peers such as Adam Sandler and Jim Carrey, Ferrell has his own unique brand of humour, which manifests itself throughout the movie.
The original had a list of quotable dialogues and has immense repeat value. The second draws inspiration from the former in more ways than one. It does not aim to outdo the first but is an enthralling testament to it. A similar formula is applied here which includes a host of amusing cameos, engaging fan service and a myriad of inane jokes, which is a forte of Ferrell.
SNL alum Kristen Wiig and James Marsden are welcome additions to an already credible cast. The former, although consigned to a glorified cameo, shines as Carell's love interest. Hilarity ensues in scenes between the two comic veterans. Carell is a scene stealer, akin to the first installment. His histrionics provide several hysterical moments in the film.
A criticism which could be aimed at Anchorman 2 is that certain characters are relegated to relatively smaller roles. The ladies in particular are afforded limited screen space. The focus is primarily on Will Ferrell. However, that is not necessarily to the detriment of the sequel. Ferrell takes center stage as an overzealous and larger than life persona. Moreover, the film suffers slightly owing to its lengthy running time as well.
The key to enjoying Anchorman 2 is to forget comparisons and contrasts with the first. This works adequately as an amusing extension of the preceding film.
Oldboy (2013)
Waste of potential
Oldboy is a contorted revenge saga based on a Korean predecessor of the same name. The original is a revered classic which enjoys cult status; therefore any attempt at a reimagining would seem destined to go downhill.
The premise follows Joe Doucett (Josh Brolin), a crass business executive with low morals who is abducted and imprisoned for two decades, bereft of any explanation. The film chronicles how he comes to terms with his solitary confinement and plots to seek redemption against his anonymous captor. His ordeal is assuaged by Marie Sebastian (Elizabeth Olsen), a clement nurse who aids his search for answers. However, unbeknownst to Doucett, the path to retribution is layered with climactic twists and turns at every step where he learns that revenge may not always be a dish best served cold.
The limited success of the movie lies in the actor's abilities to channel authentic emotions in outlandish situations. Brolin, Olsen and particularly Sharlto Copley deliver resounding performances. Brolin is impeccable as the anti-hero, giving arguably the best performance of his career. The narrative allows him to illustrate a variance of emotions, ranging from recklessness and repugnance to rage. Prior to his incarceration, Doucett is an obnoxious scoundrel with zero accountability. However, once he flees his confinement, he is determined and hell bent on retaliation thus ensuring a compelling 180 degree turn for him.
Elizabeth Olsen is impressive in her delineation of a vulnerable young girl, despite having insufficient screen time. Nonetheless, she delineates plenty to leave a mark. However, the saving grace of the movie is Sharlto Copley, chief antagonist who orchestrates the entire exercise. His portrayal of the pantomime villain is blood curdling and insane in equal measure. Despite appearing late in the movie, Copley leave a lasting impression.
The remake pales in comparison to the original and otherwise as well, owing primarily to the direction of Spike Lee. He fails to appropriately adapt the peculiar plot, which works only sporadically throughout. For instance, Lee's inadequate execution renders a comical vibe to scenes depicting violence and gore. Another example is that the duration of the two decade long seemed rushed; perhaps signifying that important footage was left on the editing floor.
A bizarre premise involving the central figure facing a twenty year stint in a motel room warranted skillful direction, which Lee fails to provide. Ultimately, even though it lacks the flair and spark of its predecessor, Oldboy works well on occasion because of a fascinating premise and themes of karma, isolation and hatred.
Thor: The Dark World (2013)
Fun movie going experience
Thor, the Mighty Avenger, returns in his third outing in as many years. His latest installment derives plot strands from Thor and also deals with the residual effect of Avengers Assemble.
With Loki imprisoned in the dungeons of Asgard, Thor strives along with his loyal comrades Lady Sif and the Warriors Three to maintain equilibrium across the nine realms. However, unbeknownst to Asgard, an old nemesis resurfaces in the form of the dark elves. Circumstances dictate Thor to forge an unlikely alliance with the captive Loki, in order to prevent an impending cataclysm.
Directing duties change hands from Kenneth Branagh to Alan Taylor. A television veteran, Taylor has experience with shows such as Lost, The Sopranos and recently, Game of Thrones. It is that background which serves him well in this instance.
He excels in making personalities with demi-god status more relatable, both in triumph and loss. All things affiliated with Asgard exhibits more authenticity. Furthermore, the characters are grounded in reality and the sequel delves deeper into the intricate relationships between characters than its predecessor.
Chris Hemsworth is an admirable physical and emotional embodiment of the Norse deity. Tom Hiddleston is able to delineate grey shades in another accomplished performance as the nefarious Loki. While the latter may garner plaudits for his portrayal, Hemsworth shines as the eponymous warrior as well.
While Thor was ostracized to earth in the first movie, the roles are now reversed and Jane Foster, played by Natalie Portman, is taken to Asgard. Portman is afforded a more substantial role and is pivotal to proceedings. All in all, she does well as Thor's star struck love interest.
Doctor Who alum Christopher Eccleston portrays the implacable Malekith, a dark elf hell bent on seeking retaliation. While he delivers a menacing threat, assuring higher stakes for Thor, ultimately Malekith is tantamount to a generic and one-dimensional antagonist.
The highlight of The Dark World is undoubtedly its humor. The blue print is akin to Iron Man 3 and the director is able to balance the comic relief with dramatic sequences. Secondly, the Thor and Loki dynamic is a thrill for viewers. Their collective charisma ensures some of the movie's better sequences.
Moreover, the action and visual effects, in keeping with other Marvel movies, are exquisite. Battles are well executed and expansive, particularly the swashbuckling finale. Last but not least, the story arcs for both Thor and Loki culminate in an emotionally satisfying manner.
The film is not without its loopholes though. At a running time of only 112 minutes, events unfold at breakneck speed, which may feel like several scenes have been edited. Ultimately, the sequel is bigger than its precursor in terms of scale and provides an engaging movie going experience.
The Wolverine (2013)
Much better effort than Origins
The Wolverine serves as a sequel to the critically panned X-Men Origins: Wolverine. Following the events of X-Men: The Last Stand, a distraught Wolverine retreats to the Canadian wilderness and leads an abject life of a wanderer. However, circumstances cause a drastic shift which places him in Tokyo, Japan. The story recounts Wolverine in unfamiliar territory, faced with precarious trials and tribulations.
The aforementioned premise is based loosely on Chris Claremont and Frank Miller's iconic 1982 comic book run, which finally gets the cinematic treatment. James Mangold (Walk the Line) takes the helm as director and delivers a distinctive character study of the ruthless killing machine.
In his sixth enactment of the fan favorite character, Hugh Jackman represents a fascinating embodiment of Wolverine. Mangold and Jackman exhibit a mutual comprehension of proceedings, excelling as a pair in delineating the vulnerable side of Wolverine. While all previous X-Men installments were ensemble driven, The Wolverine offers an alternate dynamic: a more methodical version, with character development aplenty. Once Wolverine is pushed to his physical and emotional threshold, he is compelled to confront his internal conflict. This gives viewers a chance to actually associate with the character on a more intimate level. Moreover, the isolation and agony felt by Wolverine is portrayed expertly as well.
While Jackman is able to carry the movie entirely on his own, he is supported adequately and admirably by Tao Okamoto, who plays his love interest Mariko and Rila Fukushima as Yukio, who is Wolverine's aide. Both actresses share a good chemistry with Jackman. The interaction between Wolverine and Yukio leads to a few humorous moments, which are a welcome addition.
The Wolverine represents a marked improvement compared to its predecessor. However, it is not without its own failings. First and foremost, the action sequences, which are the USP of such movies, are uninspiring. Apart from a sensational set piece atop a Japanese bullet train, the movies other altercations are monotonous and bland.
Since the movie is shot primarily in Australia, with some studio sets serving as substitutes for the densely populated streets of Tokyo, the cinematographer is bound by such limitations. Therefore, the illuminated sights of Japan are rarely shown. Better comic book adaptations are known as much for their villains as the heroes and in this regard The Wolverine is bereft of an imperative element. The movie contains multiple threats for the protagonist, none of whom are a memorable adversary.
Last but not least, the movie is prone to predictability and offers no suspense. The background score adds nothing while lackluster editing fails to do justice, especially to the action scenes as well. Also, the 3D presentation, perhaps merely a marketing gimmick by studios to earn extra revenue, does not have the desired effect. Lastly, The Wolverine also suffers from a generic and underwhelming climax.
Despite the extent of errors, The Wolverine has the benefit of adjusted expectations, since it follows a widely derided prequel. The depiction of a more personal tale with lower stakes works in its favor. Nonetheless, the movie lacks the cutting edge and is tantamount to nothing more than acceptable fare.
Man of Steel (2013)
Need to replace David Goyer ASAP!
Man of Steel, the latest rendition of the premiere comic book superhero, or the reboot of the relaunch, flies into a cinema near you. Following the lukewarm response to Superman Returns (2006), this represents another attempt by Warner Brothers' to resuscitate the Superman franchise. Zack Snyder, who has helmed action capers like 300 (2007) and Watchmen (2009), is the man responsible for Man of Steel while Christopher Nolan, creator of the Dark Knight trilogy, is involved in a production capacity.
Man of Steel tries to establish its own identity and is a significant departure from the Richard Donner films. Most importantly, the movie features a new look for Superman (sans the infamous red briefs), based primarily on his appearance in 'The New 52' line of DC Comics.
First and foremost, Henry Cavill is the ideal Superman. He exhibits a fascinating embodiment of both Clark Kent and Superman as well. In the guise of Clark, he exemplifies the ultimate outsider, bereft of any belonging. He is lost and delirious. Donning the iconic cape gives him the opportunity to discern his true destiny. This realization is depicted quite well and is ultimately the saving grace of the movie. Henry Cavill deserves all the plaudits and praise for his portrayal of Kal-El. Having narrowly missed out on leading roles in Casino Royale (2006) and Twilight (2008), Cavill makes full use of his chance and is the standout performer in Man of Steel.
Moreover, Kevin Costner (Jonathan Kent) and Antje Traue (Faora-Ul) shine in their respective roles. Costner is afforded fleeting moments but he leaves an indelible impression as Clark's doting and protective father. Antje Traue, a relative newcomer amongst seasoned veterans, plays the psychopathic aide of General Zod and exudes menace throughout. Also, the background music is supplied by Hans Zimmer. A frequent collaborator of Christopher Nolan, Zimmer's stellar score is almost like a character in the movie.
Unfortunately, that's about as good it gets for Man of Steel. The flaws are aplenty, disseminated throughout. Superman's most distinguished love interest, Lois Lane, is played by Amy Adams. While it may be foolhardy to question the caliber of her acting talents, given that she is a four time Oscar nominee, Adams is miscast as Lois. One qualm of her delineation is that she looks considerably older than Henry Cavill. Consequently, it results in the conspicuous absence of any tangible chemistry between the pair.
The blame for several deficiencies in Man of Steel can be apportioned to screenwriter David Goyer and also director Zack Snyder. While Goyer initiates the smart maneuver of emphasizing Superman's relationships with his biological and adoptive fathers, each with his own beliefs, there is little else Goyer's writing flourishes in. Goyer is culpable for rushed first act, which suffers from disequilibrium. On the flipside, the climax of the movie, which comprises of breathtaking fisticuffs between Superman and General Zod, is ultimately a stretch. However, the Special Effects team deserves credit for the CGI, which are top notch.
Given that Christopher Nolan is attached as producer, one can be forgiven for believing that another epic saga is in store, similar to The Dark Knight. Sadly, in trying to create a dark and gritty Superman movie, Man of Steel takes itself too seriously and the outcome is an in vain attempt to emulate the blue print of The Dark Knight trilogy. Goyer also fails to evoke any palpable emotion at crucial junctures of the movie. The dissonance between writer and director is felt at such instances, exposing weakness in Man of Steel. For instance, The Dark Knight and The Avengers, widely regarded as the best comic book adaptations, benefited from having the same writer and director, enabling them to execute an effective movie. Snyder is in his element with regards to the action sequences but is unable to influence proceedings otherwise. A combination of poor writing and his shortcomings result in the emotive elements of the Superman mythos getting short shrift.
While the makers are reprehensible for the aforementioned drawbacks in the movie, Man of Steel is watchable for a bad ass rendition of Superman, who is not afraid of engaging in aggressive combat, something rarely seen in five previous Superman movies. All in all, Man of Steel represents a missed opportunity to carve a truly classic movie. The makers are guilty of compromising character development for wholesale obliteration.
The 'S' on Superman's crest now stands for 'Hope' and as a childhood fan of Superman, I can only hope that the sequel improves on this origin story.
Furious 6 (2013)
Even better than Fast 5! Didn't think that was possible!
Between exiting the cinema after watching the enthralling fifth entry of this fender-bending franchise and entering to watch the latest installment, most viewers would have asked an important question: has the series reached its zenith? Suffice to say, the answer to any such query is a resounding no!
Fast & Furious 6, unabashedly and unreservedly, is the best iteration of the series yet. Like its predecessor, the film follows soon after events that took place in Rio de Janeiro. The crew is all displaced in non- extradition safe havens. However, after hunting the team for the length of Fast Five, DSS Agent Hobbs (Dwayne Johnson) enlists their help. The crew must apprehend a skilled group of mercenaries, led by Owen Shaw (Luke Evans), in exchange for full pardons. Undertaking the mission would also allow Dom the chance to reunite with Letty (Michelle Rodriguez), who has resurfaced and is now aiding and abetting Shaw.
Helming his fourth consecutive entry of the series, director Justin Lin has gone from strength to strength. Lin has ameliorated as an orchestrator with the progression of each film since he joined the venture with Fast and the Furious: Tokyo Drift. Fast 6 is grander in both scope and scale compared to its precursor. Simply put, Lin has crafted a machine running at optimal efficiency.
Moreover, Lin has at his disposal an impressive ensemble, each given their moment to shine. Vin Diesel portrays Dom with ease, while Tyrese Gibson, who plays Roman Pearce, is also prominent, providing a welcome comedic element to proceedings. The banter and camaraderie shared by the characters in general is evident throughout. Dwayne "The Rock" Johnson, now a bona fide action star, impresses yet again with his charismatic screen presence. While Fast 6 is essentially another testosterone fueled caper, the females are also part of the action, whether it includes a physical confrontation or getting behind the wheel.
Furthermore, Lin employs creativity and variety in a number of breathtaking action sequences. The flamboyant exhibition of mayhem includes vehicles such as cars, tanks and even an aircraft. The hexad episode in the series also contains exquisite cinematography. Similar to his fascination with the landscape of Rio in part five, Lin captures the vibrancy of London. The movie also benefits from a cohesive screenplay, enabling Lin to delve straight into the action, since establishing characters in unwarranted. In addition, the editing of the film is also top notch.
Last but not least, Fast 6 also ties up loose ends in the franchise, such as a significant link with the anachronistic Tokyo Drift, which may have been perceived as a spin off until now. The significance of family is an underlying theme throughout the film and Lin manages to create an emotional bond with the characters as well. Fast Five may have raised the bar, setting high expectations for the future of the franchise, but Fast & Furious 6 is able to exceed those expectations emphatically.
The aforementioned cast and crew ensure there are no signs of franchise fatigue. While sequels predominantly experience a decline in quality, Fast 6 proves to be an exception, perhaps similar to the Harry Potter series in its progression. All in all, Fast & Furious 6 proves that the series is operating at full throttle in the fast lane, with plenty of gas still left in the tank.
G.I. Joe: Retaliation (2013)
Arguably better than its predecessor
Assuming charge of directing duties from Stephen Sommers, director John M. Chu had the unenviable task of ameliorating the franchise following the much-maligned G.I. Joe: The Rise of Cobra. Based on the line of iconic action figures from renowned manufacturers Hasbro, Retaliation was initially scheduled for release last summer. However, it was delayed several months to allow the conversion to 3D.
An unconventional progression sees almost a complete overhaul of cast from its predecessor, the only juxtaposing strand being Duke (Channing Tatum) and Snake Eyes (Ray Park). The revamp is intact with other characters being discarded, an almost unprecedented feat for a direct sequel. Another remaining thread from The Rise of Cobra is the US president being replaced by an imposter, Zartan, played to perfection by Jonathan Pryce. The doppelganger orders an assault on the G.I. Joe base, managing to annihilate all but three survivors: Roadblock (Dwayne Johnson), Flint (DJ Cotrona) and Lady Jaye (Adrianne Palicki). Zartan also orchestrates the escape of Cobra Commander, the eternal nemesis of the Joe's. Cobra then leads a covert network of nefarious miscreants in their quest for world domination. The solitary obstacle in their grandiose scheme is the remaining Joe's.
Designed primarily for merchandising and to attract the preadolescent demographic, adults may be forgiven for thinking that G.I. Joe: Retaliation is also written and directed by them. The sequel manifests a level of intelligence that may appeal to a ten year old, but the narrative may prove inane for all other age brackets. Furthermore, the reconditioned characters may test the comprehension of those not fully acquainted with the background of G.I. Joe's.
In terms of performances, Dwayne Johnson exudes charisma and shows a penchant for humor. Retaliation shows Johnson right in his element. Secondly, Snake Eyes, the fan favorite from the cartoons, emanates authority despite being bereft of any dialogues. The rest of the cast, particularly the villains, are devoid of any personality. Jonathan Pryce as the Machiavellian president is the pick of the bad bunch with a few memorable quips.
The action sequences, the main selling point of the movie, are well choreographed in general. One scene specifically, an exhilarating mountain peak escape, is the highlight. It illustrates an epic scale, augmented by the 3D as well. The postponement to allow the inclusion of 3D is worth its weight in gold, especially in the action scenes. The 3D elevates the action, rendering it a larger than life perception. Chu, having previously directed the Step Up series, is in his comfort zone with regards to the well-choreographed action. Unfortunately, the non- stop adrenaline fueled action leaves minimal room for the story or characters to flourish. Retaliation is laden with an overdose of action and the pacing of the movie suffers as a consequence. Perhaps it could have been more like Avengers Assemble, allowing ample time for both action and the maturity of characters as well.
The screenplay is also aided by real world politics. In the original, the villains decimated the Eiffel Tower with a biochemical attack. They went one better in Retaliation with the wholesale obliteration of the city of London. It also serves as a tribute to the resilience of USA, something which has been delineated ad nauseam in recent years. All in all, the movie offers a myopic and partisan perspective of America and the rest of the world.
In conclusion, Retaliation is arguably better than its antecessor. It is essentially a representation of a child's imagination running wild, brimming with an incoherent plot and mindless action. It may invoke nostalgia for G.I. Joe enthusiasts or even prove fun fare for some viewers but sadly, it is tantamount to nothing more than your average Joe.
Welcome to the Punch (2013)
Competent Thriller
A number of British directors have helmed stellar crime oriented dramas in the years gone by. Examples include the consistent Guy Ritchie's Snatch (2000), the prolific Matthew Vaughn's Layer Cake (2004) and even Peter Collison's original Italian Job (1969). British cinema has also delivered the works of Ian Fleming, with the latest Bond film, Skyfall, marking half a century of Bond movies and accumulating a worldwide gross in excess of a billion dollars.
Nonetheless, all of the above movies have the advantage of being Hollywood productions. Welcome to the Punch, on the other hand, does not have the distinction of a massive budget or a household name. Nonetheless, Eran Creevy's attempt at a crime caper is a step in the right direction. After making his debut with the impressive Shifty (2008), Creevy makes his foray in the action genre. The outcome is an effective and intense movie.
The premise focuses on headstrong officer Max Lewinski (James McAvoy), who was thwarted in his pursuit to apprehend elusive fugitive Jacob Sternwood (Mark Strong). Their confrontation ended with Sternwood shooting Lewinski in the knee before absconding with his fellow criminals. Fate presents Lewinski with a shot at redemption three years later when Sternwood is coerced out of his refuge courtesy of his son being shot in London. Thus, Lewinski is afforded a second chance to exorcise his demons. Chaos ensues as the principal characters become entangled in an intricate web of revenge, politics and corruption. Alongside the leads, Creevy has assembled a potent, exclusively British cast. Andrea Riseborough stars as Sarah Hawks, the composed yet ultimately naïve partner of Lewinski. The movie marks another notable, albeit limited, performance by Riseborough, a burgeoning British talent. The role of police chief Thomas Geiger is played by David Morrissey, renown for being The Governor on heralded television series The Walking Dead. The rest of the cast comprises of Johnny Harris as an ex-soldier turned mercenary, Peter Mullan as Sternwood's trusted ally and a transient appearance by Jason Flemyng.
McAvoy refuses to be bound by stereotype as a seething and desperate cop in dogged pursuit of Sternwood. Hell bent on atonement, he excels as his character illustrates the physical and psychological ramifications of being felled by a bullet to his knee. Although not a physically intimidating figure, McAvoy renders an imposing portrayal nonetheless and exhibits versatility throughout the movie. On the other hand, perennial villain Mark Strong delivers another performance as the antagonist following roles in Sherlock Holmes, Kick-Ass and John Carter.
Eran Creevy has previously stated being heavily influenced by Hong Kong filmmakers Andrew Lau and Alan Mak. Furthermore, Welcome to the Punch is comparable to Michael Mann's style of direction, particularly Heat (1995). Creevy delivers a slick, visually confident movie that serves as his tribute to his inspirations. He wastes no time, as evidenced by the opening salvo of the film: an engaging chase sequence filmed at Canary Wharf, London. The neon blue glow adds weight to the film, especially the action scenes.
Like Shifty, this is set entirely in London. The capital is almost a distinguished character in the film. It is shown as a metropolis in all its glory and shines throughout. The skyscrapers are amplified by the blue tint as well. The crew, specifically the director of photography and the sound department deserve an honorable mention. Welcome to the Punch is a visually ambitious fare and the score complements the overall setting well.
Creevy, who also wrote the film, is culpable for a few misdemeanors. He may be deemed to prioritize style over substance. The focus from the inception till the climax is predominantly on action, sporadically compromising other key aspects of the film. As a consequence, the movie is bereft of character detail and development. The dynamic between Lewinski and Hawks is underdeveloped, for instance. With a runtime of just under a hundred minutes, the clarity suffers from the frenetic pacing.
Ultimately, Welcome to the Punch is an aptly names gritty thriller with solid credentials. It is certainly a commendable and competent crime caper.
Parker (2013)
Parker Review
Parker is a revenge saga about a highly principled thief, essayed by British actor and former International diving star, Jason Statham. The premise follows the eponymous title character who is the subject of a misconception following a premeditated heist at an Ohio State Fair. He is deemed expendable in the aftermath of the larceny and is literally left for dead by his perfidious team members, led by the double-dealing Melander, played by Michael Chiklis. Following his disposal, he is immediately rescued by a family and miraculously manages to recuperate.
Parker harbors an unconventional code of conduct: he aim to avoid robbing those he considers destitute and innocuous. Unbeknownst to his deceptive former team members, he locates their whereabouts and sets out to exact revenge from those who wronged him, which represents another one of his morals. He also enlists the assistance of real estate agent Leslie Rogers, enacted by Jennifer Lopez.
Parker is an adaptation of the novel Flashfire, the 19th of 28 novels written by the late Donald E. Westlake, under the alias Richard Stark. It is also the latest endeavor of Oscar winning director Taylor Hackford, perhaps most conspicuous for being the husband of fellow Oscar winner, Dame Helen Mirren. Hackford has delivered acclaimed movies such as Ray in the past. However, in this instance, he is unable to make Parker an engaging affair. He exhibits some erratic direction in specific scenes. Perhaps the screenplay by John L. McLaughlin, responsible for helming Black Swan, is reprehensible in this regard. Nonetheless, a better collective may have yielded a more captivating thriller.
Jason Statham excels as the namesake in a role where he has managed to carve a niche for himself. He exerts considerable energy and exudes intensity and a victim seeking vengeance. The feasibility of the entire premise hinges firmly on his depiction and he is able to use his significant experience in action movies to his advantage. His delineation is strikingly similar to his work in recent movies, such as Safe, Crank and the Transporter series.
Jennifer Lopez is assigned the task of adding the beauty quotient to the film. Sadly, she is unable to contribute to the cause. Her appearance is lackluster, combined with her bland acting skills. She plays a distraught damsel but her execution is devoid of any palpable emotion. She is miscast in the role and is bereft of any tangible sensibility. She represents the most wince inducing aspect of the movie. The antagonist is enacted well by Michael Chiklis, known best for his stint on the award winning television series The Shield. He is the epitome of charisma as the villain. Unfortunately, he is afforded scarce screen space to leave a greater impact.
The fight sequences, especially a hand to hand combat between Parker and the contract killer Kroll (Daniel Bernhardt), are well choreographed and of a brutal nature. The caper is set predominantly in Miami and the environment is captured quite well. The coup de grace could have been more interesting instead of being prone to predictability.
In conclusion, Parker is not a distinguished thriller in the same vein as the Die Hard franchise or the Bourne trilogy. Statham is the stereotypical action hero in this run-of-the-mill affair and Parker is tantamount to nothing more than a routine, run of the mill flick. It is lamentable that justice is not done to the work of prolific crime fiction author Donald E. Westlake.
Arbitrage (2012)
Arbitrage Review
It is difficult to comprehend why Richard Gere has not been recognised by the Academy. Despite a distinguished career, he has never even been nominated. In any other year, his prowess in Arbitrage would have at least guaranteed a nomination. Arbitrage serves as his magnum opus: at 63 years of age, Gere delivers a resounding performance.
Arbitrage marks director Nicholas Jarecki's foray into feature films. Gere shines in his first major role in four years as a hedge fund magnate. On the surface, he possesses it all: opulence, eminence and a closely knit family. However, a closer look delineates that he is leading a perfidious life on both professional and personal fronts.
Following a catastrophic error in judgment, his life begins to spiral beyond his control. Circumstances compel Gere to use the considerable resources at his disposal to stop the disclosure of his dirty laundry at a critical juncture in his life. The director deserves an honorable mention for constructing a compelling depiction of Gere's struggles to deal with the imminent implosion of everything he holds dearly. Gere's character scrambles to halt his life from unraveling.
Gere's triumph as a performer is his ability to tread in that grey area between good and bad, right and wrong. Upon scrutiny, he is a duplicitous executive living a double life. After he is left with the ruins of his blunder, the viewer can relate to his shortcomings on an individual level. His stellar realisation ensures that he never lies in either a black or white area, making his character facile to associate with in that regard.
Perhaps the most vital lesson learnt from Arbitrage is Gere's personal battle with his own morality, a key theme in the film. His exertions also offer a fascinating chronicle of how one man's reckless choices adversely affect those in proximity. In this particular instance, the supporting cast does an excellent job of illustrating the ramifications of his detrimental actions.
Although admirably supported by Oscar winner Susan Sarandon, Oscar nominee Tim Roth and the resplendent Brit Marling, Richard Gere is undoubtedly the main attraction. Make no mistake, Gere renders a cogent performance as the protagonist. The success of the film hinges solely on his dexterity and repertoire of emotions. Gere is able to find the perfect blend of composure and charisma. His virtuoso rendition of a tycoon with susceptible motives allows the viewer to associate with him as an afflicted person dealing with the unwarranted outcome of his ill- conceived decision making.
Last but not least, the desperation of the lead character to conceal his secrets by any means necessary, regardless of the repercussions, makes for a dramatic spectacle. Arbitrage also exhibits the harsh lesson that people can be bought and treated as a commodity. Unfortunately it's found wanting in the final act, culminating in an underwhelming finale.
Nonetheless, Arbitrage represents a respectable debut for Nicholas Jarecki and a potent portrayal by Richard Gere. His range of acting talent provides a thought provoking and engaging experience for the viewer. He proves to be well worth his Golden Globe nomination and adulation from critics as well.
Broken City (2013)
Broken City Review
Allen Hughes began film making at the tender age of twelve. However, based on his latest offering, Broken City, he may still have to grow older and wiser to make a telling contribution in earnest.
Hughes has an embarrassment of riches at his disposal in the form of Oscar winners Russell Crowe, Catherine Zeta-Jones and the formidable Mark Wahlberg, also an Oscar nominee. Therefore, it is contrition that such refined acting talent goes to waste owing to his erratic direction.
Broken City recounts a tale of politics and deception. Wahlberg essays the role of Billy Taggart, a disgraced former New York police officer given a new lease of life as a private investigator by Mayor Hostetler, played by Russell Crowe. The narrative follows Wahlberg's latest assignment: the precarious task of following the Mayor's wife, played by Zeta-Jones, who is suspected of having an extramarital affair. Subsequently, Wahlberg's character is embroiled in a contentious web of manipulation.
Despite the aforementioned abundance of adept actors, Hughes is undone primarily by a convoluted and insipid plot. At first glance, Broken City has all the elements of a refined political thriller. Unfortunately, any such outcome fails to materialise. Zeta-Jones in particular is relegated to the sideline of the script. Furthermore, Hughes' treatment of the female characters delineates a certain misogynistic perspective as well. While Zeta-Jones' character is subject to a potential scandal, another scene involving Wahlberg's love interest is enough to make the viewer writhe in agony.
The director fails miserably to capitalise on a riveting foundation provided by a solid plot and stellar cast. Instead of presenting sensational twists and turns, Broken City treads a predictable path, lacking any captivating moments in the process. The film also bears a striking resemblance to State of Play, an investigative drama also starring Russell Crowe.
Moreover, the film does not represent the gritty and hard hitting political thriller it was set out to be. It may be a thriller by definition but it does not ensure any such stimulating experience for the audience. For example, a specific scene where the final Mayoral debate is held, we are bereft of any palpable pressure which one could associate with such high profile events.
Blame must be apportioned to Hughes for such a debilitated attempt. The lead actors are also guilty of delivering sub-par performances. For instance, Crowe plays the epitome of an archetypal politician: machiavellian and shrewd. However, he does not invoke any aversion or contempt from the spectator.
Additionally, Broken City is devoid of an adequate pacing, thus lacking any flair or flourish. The only saving grace is Alona Tal, Wahlberg's enthusiastic assistant. Regrettably, her scenes are transient. The cinematographer is worthy of acclaim as well since the film's aesthetic is one of the few aspects working in its favour. He deftly highlights the prominent skyscrapers of Manhattan.
It is difficult to comprehend that Broken City was lauded by many as one of the best delayed projects in the aftermath of the 2007/2008 Writers' Strike. Such an assessment is incomprehensible, since the writing is considerably lacklustre and the direction is limp. Above all else, it embodies a missed opportunity to construct a superior film.