Film Review: Transcendence

It’s a shame that for such an interesting premise (a dying man’s consciousness gets merged with an experimental AI in an effort to save him), the end result is somewhat underwhelming.

      The problem with Wally Pfister’s directorial debut (most known for his work as the DP on several Christopher Nolan films) is that it severely lacks focus. Transcendence is not quite a decent sci-fi, not quite a techno-horror and not quite a love story. It pushes in all three directions at times – but never quite succeeds as any of them.

      Pfister’s pedigree as a cinematographer does shine through at times – many beautiful shots are peppered throughout – but the film always seems to be in a rush to get somewhere, sprinting through all its scenes, as if afraid that the audience will get bored if the characters end up standing around chatting too much.

      The initial setup is perhaps the most intriguing: terrorist attacks by an anti-technology sect (who ironically use a lot of technology in their operations) whose strike is built up with a decent amount of unease – little snippets here and there that hint at the imminent assault.

      The rest of the film however, remains devoid of any kind of tension, largely due to the fact that the opening scene tells you how it’s all going to end anyway. The excellent cast (on paper at least) seems severely wasted throughout. Rebecca Hall gamely takes the lead (forgiving the occasionally dodgy accent), although she sometimes struggles to wrangle the most out of her character’s weak motivation. Fans may also be disappointed that Johnny Depp is largely reduced to a disembodied voice or a face on a screen for the majority of the film.

      Others in the supporting cast are also given little to do. Paul Bettany is good but feels sidelined in the dull middle section, and it’s nice to see decent character actors such as Kate Mara, Clifton Collins Jr. and Josh Stewart in small roles. Cillian Murphy and Morgan Freeman meanwhile, pick up the easiest paycheck of their careers as they pretty much just show up. None of the characters or scenes are given enough time to breathe and, as a result, sometimes you just can’t help but see it as a bunch of famous faces standing around together in a room.

      Similarly, the interesting ideas and themes of the implementation of technology and AI in our lives and how it may help or clash with the concept of humanity - are all neatly brushed aside in order to get to the next plot point. There’s not enough action or excitement for the blockbuster crowd, nor is the film cerebral or techno-centric enough for those looking for a more thoughtful viewing experience. Even a B-movie techno-horror route could have worked (think Virus or Demon Seed), as the concept of a rogue AI is fairly terrifying, but Transcendence even shies away from that, all leading up to a rather unimpressive ending.

      It’s a shame that so much is wasted in this film, despite the overly economic editing. It should have been cleverer, more philosophical even, given the concept. Even a ponderous, self-indulgent meditation on the subject matter, delivered in a poetic way (barely hinted at here in aerial shots flying over beautiful nature accompanied by a voiceover) may have elevated the film to something great. Instead it just feels safe and clunky – as if we are just being presented with the highlights of a big budget TV series that have been squashed together into a feature length trailer for easy consumption.

      Whilst occasionally visually impressive, Pfister’s directorial debut is a collection of missed opportunities that will likely leave audiences wanting more. It’s basically the set-up for The Terminator …without any Terminators. If Pfister had spent more time fine tuning the story instead of attempting to capture footage of the perfect raindrop (though that is certainly visually appealing) then this film might be able to (ahem) transcend its muddled focus. Instead it just sinks.

27th April 2014

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Double Dose of The Amazing Spider-Man 2

 

This week on Double Dose we have the second part of Sony's rebooted Spidey franchise: The Amazing Spider-Man 2.

You can check out my written review on (spoiler free) by clicking HERE.

We also have the first episode in our new series of The Padcast, which you can listen to below:

(Warning: there may be light spoilers discussed)

You can also download an .mp3 of the episode HERE.

If you’ve enjoyed it please show your support: LIKE, SHARE and SUBSCRIBE!

18th April 2013

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Film Review: The Amazing Spider-Man 2

      You’d think that with all the set-up out of the way, this sequel to the 2012 reboot of the Spider-Man franchise would be a lot more focused and succinct. Well it is and it isn’t.

      The strained on/off relationship between Peter Parker (Andrew Garfield) and Gwen Stacy (Emma Stone) gets much of the attention (and indeed screen time) in this instalment, as does a deeper exploration into what Peter Parker’s parents were up to before they disappeared. The actual villains, however, feel severely sidelined, appearing more like an afterthought. Since Spider-Man has always had such a colourful rogue’s gallery to choose from, it seems a shame that they are given so little screen time.

      Great actors are consistently wasted throughout due to a poor script and inconsistent tone. Paul Giamatti is reduced to hammy bookend sequences, Dane DeHaan is great until he actually becomes the cackling, tongue lolling Green Goblin, Jamie Foxx channels the Nutty Professor as Max Dillon and lacks decent motivation as Electro… the list goes on. To be fair, Emma Stone is excellent throughout and the scenes she shares with Garfield have genuine chemistry (they are also a real-life couple) although Garfield himself is yet again only given two emotions: cocky or crying. So much attention is given to the pair’s interactions that, in fact, you may be mistaken in thinking you are watching a romantic drama – albeit one with a guy that occasionally goes out dressed in spandex.

      In regards to the action, it’s flashy and frequently beautifully realised, but the same old problem with previous portrayals of Spidey persists. The obligatory scenes of watching him swing through the city is kinetic and well choreographed but isn’t that much of a difference from what we’ve seen in four previous films already. Considering the first Sam Raimi film was released over a decade ago, these scenes end up feeling rather rote and uninspired. The same applies to the fight sequences. As soon as any big showdown commences, the actors are replaced by CG models that are reminiscent of a highly polished cut-scene from a videogame. Its all bright and shiny but unfortunately serves as too much of a disconnect.

      The Amazing Spider-Man 2 also has the annoying habit of constantly talking down to the audience. Any room entered in the Oscorp building will have a guide voice explaining the relevance of the contents of the room to the plot. The dialogue is frequently clunky, serving up such gems as a guy walking along with blue-prints announcing to no-one in particular: ‘Guy with blue-prints coming through!’ Electro’s origin scene has him balancing precariously above a tank of electric eels as he sings ‘Happy Birthday’ to himself. There is a pantomime-like evil German doctor called ‘Kafka’ that borders on the offensive. Any sort of subtlety is definitely not on the agenda.

      There are other moments of inconsistency. Spider-Man’s ability to use his ‘spider sense’ or to go into super accurate moments of slo-mo seem only to be available when the script calls for it. Similarly, Electro is able to travel through sockets, be impervious to bullets and disappear and re-materialise at will, and yet when it requires him to be punched repeatedly by Spidey he suddenly loses all these abilities. Without solid rules or a sense of consistency it’s hard to be invested in these encounters or care about the outcome.

      The Amazing Spider-Man 2 is a frustrating experience. There are some nice ideas and the film features some incredible production design, but there are too many uneven moments and inconsistencies throughout. The inconsequential and light-hearted comedy that runs through much of the film jars with the more serious scenes (such as the opening plane sequence or the emotional gut punch towards the end), the villains feel rushed and under utilised, and much of the film just seems like a set up for the next (in a rather lazy move, Oscorp seems to be the launch pad for every major Spider-Man villain to come).

      It’s a shame then, that although the romantic focus of this film is decently portrayed, it eats up the majority of the running time (despite the film being almost two and a half hours long) and doesn't leave room for much else. If you are looking for throwaway entertainment, this entry to the well worn franchise may suffice, but those looking for something a bit more meaningful will likely come away disappointed.

18th April 2014

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Film Review: The Raid 2

            The sequel to Gareth Evan’s breakout hit The Raid (AKA The Raid: Redemption) continues the story of cop Rama (Iko Uwais) a mere two hours after the closing moments of the first film. And, story-wise at least, that’s pretty much all the two films have in common.

            Whilst the original The Raid was largely confined to a single location over a period of a few hours, The Raid 2 is a sprawling crime epic, encompassing several characters and storylines - this time spanning over the course of a few years. The budget, the ambition and (of course) the bone-crunching violence of the action sequences that many people praised in the first film, have all been upped considerably for the sequel – Evans proving that he is a genuinely exciting talent to watch and not just a one-hit wonder.

            In The Raid 2, Rama is forced to go deep undercover in order to weed out corrupt cops, but along the way becomes deeply entrenched in working for the local mob boss Bangun, his ambitious hothead of a son Ucok, as well as encountering a dozen other colourful characters ranging from rival bosses, hitmen, underworld lowlifes and corrupt officials. It’s a definite change of pace, and, whilst the intense action scenes and bloody fights are still all present and correct, there is a bit more down time for the story to breathe and characters to develop.

            As a result, it’s nice to get to see Iko Uwais getting more time to act this time around, but special mention also goes to Arifin Putra, who impresses as young mob heir Ucok – a more complex character that carries much of the dramatic weight of the film. There is also a Japanese element added to the story in the form of a Yakuza presence (headed by Kenichi Endo) that hints at a much larger world beyond.

            The scope and cinematography of the film have also been considerable upped. There are plenty of lingering long shots, extreme close-ups during heightened moments as well as some tasteful use of slo-mo. The style calls attention to itself a lot more this time around – this also being the case with the action sequences and their kinetic camera work as well as the quieter moments. There are overhead shots of huge brawls, shots rolling through windows as characters are thrown through them, and a camera being passed through one window and out of another during a frantic car chase. In addition to the excellent fight choreography, the way these scenes are expertly staged and shot is a breathless and visceral thrill.

            Tonally, The Raid 2 does feel different, however. The violence this time is darker, gorier and a touch more mean-spirited. Whereas many deaths in the previous film seemed to be an ugly necessity for the characters in order to survive the immediate situation, here there are also plenty of executions and assassinations, often unflinching in their delivery, refusing to cut away. This is undoubtedly one of the most violent and bloody theatrical releases of recent times.

            Not only are characters unexpectedly (and often shockingly) offed, but the whole film has an omnipresent sense of threat throughout – as if any scene can suddenly burst out into ultraviolence. Evans uses this well to ratchet up the tension throughout, creating a very dark and nihilistic feeling of no escape, as if no one is truly untouchable and every character is living on borrowed time.

            Despite its lengthy running time, The Raid 2never feels overly long. Although it isn’t the succinct and perfectly formed rollercoaster ride of it’s predecessor, the wider canvas of the story it tells indeed deserves a lengthier movie. And there is certainly plenty of variation: highlights include a twenty-against-one fight in a toilet cubicle (that swiftly puts to shame the recent Captain America The Winter Soldier’s lift scene), a muddy prison yard brawl, the return of Yayan Ruhian (Mad Dog!) as a homeless assassin; and a hammer scene that quite easily manages to leave that scene from Old Boy in the dust.

            The film isn’t without its faults, however. The fact that the original incarnation (simply entitled Berendal) was in pre-production before the original The Raid and then later retro-fitted to be its sequel, does lead to some unevenness in the story, and some of the ridiculously over-the-top fight sequences and almost comic book characters (actual names: “Baseball Bat Man”, “Hammer Girl”) occasionally stand at odds with the more realistic and gritty gangland tone that the film strives for.

            Taken with a pinch of salt, however, these are minor quibbles and if you are able to suspend your disbelief, they actually add a welcome colourful flourish to the rogue’s gallery of the film. Evan’s The Raid 2 is visually stunning, the action sequences push at the boundaries of the genre, and it even occasionally finds the odd moment to be darkly funny. Calling it a mixture of Infernal Affairs, The Godfather and a high-octane martial arts movie all rolled into one sounds fairly ridiculous – and yet is pretty accurate. If you can stomach the violence, this one is not to be missed.

14th April 2014

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Film Review: Noah

      A big budget film of a well-known biblical tale, directed by one of the most interesting filmmakers working in Hollywood today, is guaranteed to receive all sorts of attention – both good and bad.

      In other hands, this could have been a disaster – either a generic Hollywood-ised action ‘re-imagining’ that takes too many liberties with the source material or, on the opposite end of the spectrum, a preachy and steadfastly literal interpretation of the story that we all know so well anyway. The end result is, rather refreshingly, something in-between, yet at the same time still capable of surprising you with the unique direction it has taken.

      Right from the opening credits you can tell that subtly is off the cards and a heavily stylised approach is in. From Clint Mansell’s booming score to the ominous introductory narration, Darren Aronofsky’s take is striking - both in terms of the visuals and the (at times) considerably dark subject matter. The result is like something you would get if you mashed the bible up with Lord of the Rings (yes, there are barbarian hordes and rock monsters that feature as a major part of the story!).

      Whilst in theory that sounds horrible, Noah actually manages to come across as a decent fantasy epic. It’s unmistakeably the story we know, but the inclusion of some nightmarish visuals, post apocalyptic desperation, violent battle scenes and frequent instances of man’s inhumanity toward his fellow man, is often hauntingly effective. Anthony Hopkins provides some light moments as an old man who can’t stop wittering on about berries, but the majority of the film’s runtime is played straight and serious – with more emphasis on the threat of the very human antagonist Tubal-Cain (Ray Winstone) (and then later the family dynamic coming under strain) rather than the more obvious choice of dealing with the logistics of gathering and fitting two of every animal into a large floating box.

      As for the animals themselves, the film is very CG heavy - and yet the sheer scale and ambition in the various scenes that show swarms of critters descending upon the ark is often breathtaking. The time-lapse sequences are also a highlight – one in particular (which seems to deftly marry the idea of creationism and evolution) is a triumph. Aronofsky likes to straddle this ambiguity (Noah is clearly influenced by prophetic visions and there is often talk of ‘miracles’, but we never see ‘God’ and He is only ever referred to as ‘The Creator’).

      Whilst this works well in the context of the film, it’s unfortunate that both evangelical Christians and hardcore atheists are going to end up bitterly disappointed with the result, as the film repeatedly refuses to land on either side. And that’s not even mentioning the anachronistic clothing (hoodies, boots and patchwork jeans), the home pregnancy kit, convenient knockout gas, seemingly pro-vegetarian agenda and the aforementioned Transformer-like ‘Watchers’ - that are all further examples of elements that will rub many people up the wrong way.

      Despite all this, the sheer boldness of Noah makes it worth a watch. Russell Crowe is well suited in the lead and watching him square off against a growling Ray Winstone is a delight. Although her scenes are a touch melodramatic at times, Jennifer Connelly brings her A-game as Noah’s wife Naameh, and Logan Lerman impresses as conflicted son Ham (despite his accent occasionally slipping).

      Noah is likely to be one of the most divisive films of this year, but it’s undeniable that Aronofsky has imbued this (literally) age-old story with a fresh perspective. Even though this may well be his most accessible and mainstream movie yet, Noah is bold, daring and features some powerful imagery that will stay with you long after watching. 

6th April 2014

You can also see this review at PillowMagazine.com

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