Tag Archives: Blade Runner

2017 in review – Faces, Places, and Much Needed Changes

best of 2017

I found 2017 taxing. It was a taxing year. I think it was for most people. Of course this isn’t a politics blog, so let’s not even go there, but even at the movies I did not find my usual escape. As often happens, it was late in the year before I found anything close to a list of favourites. But beyond that, just shutting out the stresses of the world has been harder, making sinking into a movie more mentally trying. It doesn’t help that I am noticing myself getting older, and staying awake through film after film is no longer a case of sheer willpower and enthusiasm. Oh for the days when two cups of well-timed coffee could get me through six features between bedtimes.

But at the same time, 2017 was actually somewhat of a landmark for cinema. After 2016’s #OscarsSoWhite scandal, who could have foreseen Moonlight take Best Picture over the charming but inferior La La Land, and in the way it did? Watching a livestream that was about a minute behind “live”, I could see panic and shock breaking out on my phone before anything had signalled La La Land was not the winner on TV. My Twitter feed was freaking out, and for a few moments I had to wonder what was about to unfold (a fainting filmmaker, a fight on stage?) – who’d have believed it? The shock has died down, but the Best Picture debacle of 2017 will go down as one of the greatest single moments in both film history and live television. What a time to be alive.

If 2016 had been a major year for Black cinema, 2017 shifted the focus to women. While it’s not a film I am especially in awe of, Wonder Woman hit with an undeniable impact, and moments like Gal Gadot strutting into No Man’s Land, or Chris Pine electing to be a handsome honeytrap to woo information from a female villain, completely rewrote the book on how Hollywood must view gender roles. (The huge success of the hilarious Girls Trip proved these changes were not solely going to benefit white women.) There’s more good work to do, but it feels exciting to be standing here while the sands are beginning to shift. And where representation behind and in front of the camera – and at the box office – showed extraordinary progress, an even bigger shift came as the rotten husk of Harvey Weinstein dominoed into his fellow abusers throughout Hollywood. Enough has been written by many greater talents about the #MeToo movement, but suffice to say the horror of hearing these stories come to light is regularly overcome by the swift victory of victims newly heard and perpetrators’ careers tumbling.

Before we get to the movies, let’s talk a little about what a year it was for TV. Since the dawn of True Detective and Black Mirror, TV has moved into EVENT territory, with individual seasons or episodes of far greater social (and artistic?) importance than tracking the fate of characters over too many years of one show. New shows like Legion, The Good Place, The Handmaid’s Tale, and American Gods stood out, but it was limited revivals that showed what TV could really do when focused artists expressed themselves through serialised storytelling – Twin Peaks: The Return and the belated final season of Samurai Jack (which oddly paralleled Peaks) truly stood out. David Lynch’s Twin Peaks, an astonishing metaphysical exploration of identity in 21st Century America through avant-fantasy and soap-operatic extremities, was such a remarkable achievement it triggered much fevered and pointless debate as to whether or not it was a “film”. The discussion is irrelevant, what matters is that it is. Purely to keep in check with previous years’ best-ofs, I have not included it on my list here, although with some reflection I wonder if it would have come out on top. I have subsequently seen the entire series on the big screen, and I can assure you, whether it’s a movie or not, it works as one.

Laura Dern in a still from Twin Peaks. Photo: Suzanne Tenner/SHOWTIME

Not a movie

Professionally 2017 was a good one – I began as Festival Manager of Doc Fortnight at MoMA, which had a tremendously successful year, and wrapped as a film consultant at Lincoln Center for the Performing Arts. I continued to write and edit at Cineaste (especially pleased with my broad review of Rebecca), while picking off some smaller projects. In my spare time, I continued a quest to watch every Palme d’Or movie, begun in 2016, and got up to the 2000s, so will finish that off this year. I also dedicated myself to watching one movie exceeding a four-hour runtime per month, which allowed me to pick off some exhausting cinematic must-sees, including Shoah, Out 1, Sátántangó, and Histoire(s) du cinéma. If I’m not going to make myself watch these things, no one else is going to!

On the big screen I saw some terrific rep screenings, from Don’t Look Now and Tokyo Drifter at Metrograph, Monterey Pop and Stalker at IFC Center, The Fireman’s Ball and Pelle the Conqueror at Film Forum, The Old Dark House, Hello, Dolly!, and Funeral Parade of Roses at Quad Cinema, and Strange Days, Husbands, and, err, Manos: The Hands of Fate at MoMA. Elsewhere, my home viewing ranged wildly from The Colour of Pomegranates to Arnold Schwarzenegger’s remake of Christmas in Connecticut. I have a range. Too much so.

As for the new releases of 2017, well there were many highlights and lowlights. I was left cold by Haneke’s Happy End, and thought the much-lauded A Ghost Story collapsed in the second act. The always-reliable Hirokazu Koreeda’s After the Storm hit me in the gut, but lacked the simple visual ambition of his better works. Okja did much the same for Bong Joon-ho, another favourite. The summer was riddled with flopbusters, but a few almost made my best of the year list, including Thor: Ragnarok, War for the Planet of the Apes, and Star Wars: The Last Jedi. Other close calls included Risk, The Big Sick, Personal Shopper, The Meyerowitz Stories (New and Selected), Columbus, Dawson City: Frozen Time, and, until Phantom Thread dislodged it from the list-in-progress, Lady Macbeth. I’d have included the spectacular World of Tomorrow – Episode Two: The Burden of Other People’s Thoughts, except it’s a short, and then I’d have to defend putting a short on my best films list, and, well, you know.

WOT2-0

Not a movie

Major releases I missed that might have featured include Coco, Song to Song, T2 Trainspotting, Raw, and I, Tonya, among many others. But as of early 2018, these are the 2017 films that have not left my mind…

20. Mudbound

There’s a well-trodden feel to Dee Rees’s racial melodrama, a sense that the toxic poverty and discrimination of the American South have been told before, and so well as to reduce further efforts to redundancy. And yet, here, through guiding a great ensemble, and with an exceptional rising cinematographer in Rachel Morrison at her side, Rees finds a balance between two complex family dramas, rebirthing the Mississippi landscape (Louisiana standing in) in remarkable, rich brown tones.

19. Molly’s Game

First-time director Aaron Sorkin brings his distinct writing style and energy to a one-of-a-kind story of a go-getting secretary-turned-underground-gambling-house-diva. Jessica Chastain brings her A-game, blasting out Sorkin’s buzzy dialogue, with plenty of fun sparring partners (Idris Elba is terrific as her attorney, following her bust by the Feds). It keeps character the focus, without letting the poker overcomplicate the drama. The final act devolves briefly into nonsense, but it’s not enough to slow it down. The screenwriter-auteur seems to understand the collaboration great cinema requires, and smart editing and handsome cinematography make this a memorable debut.

18. A Quiet Passion

The inimitable Terence Davies made his first (and only?) misstep with 1995’s The Neon Bible, a Georgia-set period piece that felt outside the range of his very British working class viewpoint. Having honed himself as a master of period tone in the decades since, Davies’s second American tale reveals the depth of his maturity as an artist. With beautiful imagery matched by splendid pacing and often caustic wit, the lives of poet Emily Dickinson and her family are realised thoroughly. If it at times ventures away from the historical truth, it does so only to keep things lively, and Cynthia Nixon is the cornerstone of a terrific cast.

17. Nocturama

One of 2017’s boldest pictures, French filmmaker Bertrand Bonello’s anarcho-thriller Nocturama is a Parisian-set genre smorgasbord. Beginning as a heist movie, in which a gaggle of misaffiliated teens sets off a series of bombs in order to topple the economic status quo, it shifts to satire, bordering on farce, as the young antiheroes hide out in an abandoned ultra-bougie department store. It ends in horror. The first act shows the deftest filmmaking, as Bonello intercuts between his characters at various points in the timeline, but the lengthy central act unveils a bolus of social commentary as the youths interact, often joyfully, with the elaborate trinkets of a society they profess to despise.

16. The Shape of Water

There are few visualisers of the fantastic working in Hollywood today with the skills of Guillermo del Toro, but his screenplays (especially the English ones) rarely match his remarkable imagery, with strained dialogue and comically heavy-handed metaphors. But here, working with Vanessa Taylor (whose major credits include a handful of Game of Thrones episodes and a Meryl Streep romcom), he has produced his best work since Pan’s Labyrinth. A complex character study, loaded with wit, and a truly out-there love story borrowing from 1950s B-movies and Beauty and the Beast, The Shape of Water shows tireless craft (amazing, rust-encrusted sets, plays with light, splendid music), and is held aloft by the quality of its performances, particularly Sally Hawkins as a mute janitor at a government research lab who rescues, and falls for, a South American fish-man creature. Michael Shannon’s villain is as under-baked as all of del Toro’s villains (although the actor, as always, acquits himself admirably), but otherwise the writing is stellar, and builds to a beautifully realised finale.

15. Three Billboards Outside Ebbing, Missouri

Martin McDonagh has always revelled in being an outsider – his most famous works, plays set in the West of Ireland, derived from his visiting his extended family as a youth, observing the peculiar and exciting linguistic flourishes that he magnificently retooled into hilarious, mean-spirited tales like The Beauty Queen of Leenane. Here he has bitten off more than he can fully masticate, with a Midwestern setting that he is perhaps too much removed from to fully capture. But what he’s done remains an exceptional entertainment, darkly imagining the war of printed words between a bereaved mother and a well-intentioned sheriff, who she holds responsible for the failure to capture the brutal killers of her daughter. The characters and situations are larger-than-life, with performances (Frances McDormand, Woody Harrelson, and Sam Rockwell especially) to match. Its contemplation of redemption for racist, Red State caricatures feels ill-timed in an angry, polarised America, but the strength of the dialogue and the crisp texture of Ben Davis’s cinematography make it a film difficult to deny in its quality.

14. Marjorie Prime

Yes, yes, yes, it’s just a play I hear you say, but when a play is this good, when it’s this well-written, this cogent and timely in the issues it addresses, the medium feels irrelevant. Adapted from Jordan Harrison’s stage drama with minimal flourish by Michael Almereyda, Marjorie Prime looks at a near-future where the grieving process is aided by memory uploads of the departed, appearing as interactive holograms of them at whatever age the customer chooses. Too introspective and quietly sad to be a Black Mirror instalment, it’s a heart-rending look at memory and regret, acted superbly by its four stars, Lois Smith, Jon Hamm, Geena Davis, and Tim Robbins.

13. Your Name

A record-smashing success both at home in Japan and around the world, writer/director Makota Shinkai’s Your Name is a romantic fantasy comedy that pushes in every direction – a huge emotional impact; shocking supernatural twists; big, silly laughs – while even challenging the likes of Studio Ghibli in the quality and richness of its animation and colours. Billed as a teen body swap tale, initial gender gags give way to a deeply satisfying romance and ethereal revelations. If the many subplots seem tired or convoluted, they all wash away in the image of two star-crossed lovers meeting for the first time across the flare of a setting sun.

12. Dunkirk

The sort of cinematic grandeur that Hollywood has forgotten in the wake of CGI city explosions, Christopher Nolan’s Dunkirk is simultaneously experimental and defiantly old-school. Recreating the famous naval escape of WWII in breath-taking 65mm IMAX, Nolan’s film is a triptych edited out of sync, revealing days on the beach, an afternoon on the sea, and one terrifying hour in the air. Hans Zimmer’s thrilling score ticks with intensity as time runs out for the soldiers. The pressure builds in all three stories as they meet at the day’s end, culminating in a cathartic welcome home, accompanied by Churchill’s most famous address. This is the war movie at its most ambitious, even if the characters’ screentime is too diluted to ever truly feel in the thick of it with any of them.

11. The Florida Project

Following his impressive Tangerine, a film famously shot entirely on an iPhone, Sean Baker’s Florida Project is mostly crisp, bumblegummy 35mm. An affecting look at childhood in poverty, and a savage critique of the selfie generation’s self-absorption being anathema to parenthood, this is a minor triumph of humanism, with Brooklynn Prince and Willem Dafoe as neighbours, decades apart in age, neither of whom allow the minor tragedies of daily living scuttle their enthusiasm or hopefulness. A finale that dips into magical realism both looks and feels out of place, but it barely leaves a dent in this dramatic and regularly hilarious work.

10. Blade Runner 2049

Few were more sceptical than me at the idea of a new Blade Runner sequel/reboot/anything. But on the heels of the splendid Arrival, Denis Villeneuve had more than proven his sci-fi chops. What we got was a shocking success, building on the mythology of the Philip K. Dick universe, while somehow reinforcing the mystery around Rick Deckard’s humanity, questioned at the close of Ridley Scott’s original, leaving it satisfyingly unanswered. The exquisite production design and imagining of future technology that both aids and alienates made it a new dystopia, not a rehash. The cast, from Harrison Ford and Ryan Gosling, to exceptional supporters Robin Wright, Ana de Armas, and Sylvia Hoeks, brought more than could be expected to a thought-provoking, largely action-free sci-fi gem.

9. Get Out

If any film could vie with Wonder Woman for the title of “most important film” of 2017, it was Get Out. The icing on the cake is what an incredible achievement Get Out is, even before its socio-political satire and revelations are taken into account. The tale of a young African-American man lured into the welcoming abode of an over-eager white family who, secretly, don’t so much want to kill him as be him, latches on to numerous under-spoken-of issues bubbling beneath the surface of post-Obama culture. First-time director Jordan Peele impresses hugely from the get-go, but its his script that dominates, fluctuating with ease between social commentary, brilliant black comedy, and nightmarish horror; apparent throwaway lines of dialogue early on whip back as ingenious foreshadowing of gags and grotesqueries. Star Daniel Kaluuya offers a performance that horror cinema hasn’t seen the likes of in a generation.

8. The Killing of a Sacred Deer

Yorgos Lanthimos continues to revel in his highly personalised brand of faithlessness in humanity, and the results remain inspired. Here suburban inanity is punctured by Barry Keoghan’s intrusive oddball Martin, who forces himself into a pretentiously happy family’s home life, blaming the patriarch, a doctor, for the death of his own father. Lanthimosian performances are emotionally wooden as always, played with bitter somnambulism by Colin Farrell and Nicole Kidman. The moral dilemma at its core is played as a cunning, tormented thought experiment, shifting the movie suddenly from darkly comic to spine-cringingly horrific.

7. Lady Bird

On the surface a semi-autobiographical coming-of-age drama from first-time director Greta Gerwig, Lady Bird is encased in a study of daughters and mothers, and the generational misunderstandings that can blind loved ones to others’ needs. Saoirse Ronan and Laurie Metcalf merge with their characters – the shared frustration with one another is written in every movement of their faces. Unshowy production design keeps the story grounded, while Gerwig’s script and the exceptional editing of Nick Houy make the film as unforgettable as the drama.

6. BPM (Beats Per Minute)

As the AIDS crisis has diminished in the West, it can be hard for some to remember the terror it incited in the early ’90s. In my youth it seemed the greatest threat to humanity in a pre-9/11 world. But for those who feared it, nothing could compare to the experiences of those who lived with it, unsupported, unheard, uncared for. Robin Campillo’s award-winning BPM is a sensational dive into the world of French AIDS activists 25 years ago, gently and caringly listening to their stories and hopes and fears in intimate love scenes, while also making clear the incredible work and organisation done by ACT UP in fighting for the rights and humanity of those living with HIV/AIDS. The acting and writing capture a unique energy with exceptional passion, while the film features perhaps the most outstanding scene transition of the year, as specks of dust caught in the wavering lights of a nightclub morph into human cells, under attack from within.

5. The Teacher

One of the most overlooked films of 2017, Jan Hřebejk’s The Teacher is one of the finest works studying abuses of power in recent memory. Borrowing a concept from 12 Angry Men, it is set at a PTA meeting called to question the future of school teacher Mária Drazdechová, in the closing decade of communist Czechoslovakia. Drazdechová is accused of using her position of authority within the Party to manipulate parents into doing copious favours for her, and bullying her students so severely that one even attempts suicide. Using flashbacks to show their interactions with Drazdechová, while intercutting children and parents to reveal generational (dis)similarities, one by one the parents are convinced to come forward. It’s an astonishing piece of storytelling, and in the title role Zuzana Mauréry dominates the screen, making her one of the most memorable villains of the 21st Century so far.

4. Faces Places

As she approaches 90, but appears to come nowhere near to slowing down, Agnès Varda once again hits the road to traverse France and find the most interesting people she can interview and shoot. Her companion/co-director/partner in crime is 30-something graffiti artist JR, whose portrait photography is blown up to enormous sizes and plastered in the most aesthetically pleasing and surprising places. As Varda’s eyesight fades, the trip and film become a metaphor for what might be her last chance to truly see the world and its people. What begins as a sweet, charming journey, documenting the towns and faces Varda and JR come across, expands into something far greater, about lives lived and not lived, as the duo attempt to confront Varda’s past with two towering male legends of French cinema, her late husband Jacques Demy, and long-time friend turned hermitic curmudgeon Jean-Luc Godard. At her impressive age, Varda continues to push the boundaries of the documentary arts, never losing hope or faith in the real, human magic of the world around her.

3. Phantom Thread

Paul Thomas Anderson has never made a bad film, but his best work always comes with narrow focus; direct character studies rather than sprawling, Altmanesque ensembles. Phantom Thread is his smallest film since Punch-Drunk Love, and features barely more than three characters: fashion designer Reynolds Woodcock, his young muse Alma, and his commanding sister Cyril. What begins as a straightforward melodrama about a woman unable to crack the eccentric brilliance of her much older lover – echoes of Rebecca abound – morphs into a stranger, sexlessly kinkier story about emotional domination. It looks luscious, while Jonny Greenwood’s score is as seductively brilliant as Daniel Day-Lewis’s Woodcock. Vicky Krieps is strong as Alma, but much of the film is stolen by Lesley Manville’s divinely snarky Cyril.

2. Call Me By Your Name

Luca Guadagnino undoubtedly had a masterpiece in him, but it wasn’t clear it would come so soon. His fifth fiction feature, adapted from André Aciman’s novel by the iconic James Ivory, is a quiet and powerful love story set in Northern Italy. Elio, aged 17, meets Oliver, 10 years his senior, his father’s assistant in excavating artefacts from Roman antiquity. What begins as a resistant friendship between two men whose only common trait is a shared Jewish ancestry, erupts into romance through a succession of spoken and unspoken moments – glances of the eyes and the hand against skin. Superbly paced to create the feel of a summer spent falling in love, the story beats with the pain and beauty of first love. Shot in extraordinary sunswept frames by Uncle Boonmee’s Sayombhu Mukdeeprom and accompanied by the delicate bombast of Sufjan Stevens’s music, it is never less than gorgeous. Lead actors Timothée Chalamet and Armie Hammer offer up their impressive bests, but it is Michael Stuhlbarg as Elio’s calmly caring father who leaves the most powerful mark, connecting one boy’s heartbreak to a legacy of unexpressed emotion.

1. The Square

No movie in 2017 dared to tackle as many issues as Ruben Östlund’s The Square, and few movies have ever aimed for so many targets without spreading themselves thin. Whereas his breakout 2014 darling Force Majeure focused squarely on fragile masculinity, The Square encircles that issue in addition to commentaries on homelessness, the immigrant crisis, the incompatibility of art and commerce, the Americanisation of Europe, and casual sex. It is a ruthless satire on the art world that sees Claes Bang’s curator Christian struggling with the titular artwork, which professes to be a sanctuary in which all are equal. But none are truly equal within or without, as power shifts from person to person, from Christian to the thief of his smartphone to the vengeful child inadvertently accused of the crime. A self-revolved artist is overcome by a peer who has turned to animalistic performance, and bourgeois society is at first delighted and almost instantaneously outraged. Christian, perceiving himself a demi-celebrity, argues with a woman he has slept with who won’t let him dispose of the condom they have used himself, convinced she is out to steal his sperm, in surely the year’s most hysterical scene of awkward comedy. The film has so much to say about 21st Century living, and our inability to comprehend much or all of it. It is ruthless and hilarious, ceaselessly entertaining, and a consistently startling work of cinema, pristinely shot, tremendously executed.

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An artist’s interpretation of me telling you how good The Square is

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Oh, and of course, there’s the worst movies. These were works from 2017 that either bored me beyond redemption, entertained me in ways they were never meant to, or left me simply stupefied by their outrageous, unearned out-there-ness. I didn’t see The Emoji Movie, while Justice League was too run-of-the-mill to even bother feeling negative towards, and Transformers: The Last Knight gave us the gift of Cogman, without whom it would surely have made this list.

5. Ghost in the Shell

Narrowly beating Death Note for the misguided anime remake of 2017, Ghost in the Shell brought nothing new to the table, and in keeping a Japanese setting placed a target on its chest for accusations of white-washing. Audiences and critics justifiably struck. Borrowing all its finest images from the source material, its mot inventive creation was to have the Caucasian hero and villain be secret Asian people. In what feels like a lazy Saturday Night Live sketch, characters repeatedly pause to use the terms “ghost” and “shell”, which mean, in this context, as they make very, very clear, “soul”… and “body”. It is agony.

4. Lemon

Another study of an anxious intellectual struggling with the emotional and career success of those around him, Lemon is a mean-spirited, aimless film, relying too much on the muted charisma of its stars. The story reaches no conclusions (nor a reason for there to be no conclusion), while the blown-out yellowed palette exhausts after the first few minutes. There’s much talent here, but all of it is misdirected.

3. The Book of Henry

Behold a child smarter than his mother! Cringe when you should be weeping as he dies suddenly of a brain tumour! Thrill as his mother follows his instructions from beyond the grave to murder their neighbour who is abusing his daughter! Gasp as that abuse is made clear through interpretive dance! That rare example of a movie that simply should not exist.

2. The Mummy

Universal’s self-immolating attempt to create a shared “Dark Universe” of their famous monster characters began (and ended?) with this dour-looking action film which follows Tom Cruise’s uncomfortably quippy hero from the Middle East to London, pursued by a sexy zombie and her army of unspectacular CGI. Tonally scattershot, impossibly dull, mercilessly sequel-thirsty.

1. Baywatch

The lowest point of ironic media repurposing, this painfully unfunny comedy has the audacity to tease a television show that showed more impressive cinematic craft in its opening credits montage than this can in two hours. Smothering the natural charisma of stars Dwayne Johnson and Zac Efron, this bounces from comic set piece to comic set piece with awkward scene transitions and a threadbare drug-smuggler plot failing to hold it together. An extended scene in which Efron’s character must fondle the genitals of a corpse feels like the perfect metaphor for this film: ugly, gross, determined to insult, but just cold and flaccid.

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Cloud Atlas – Ambition accomplished

Star-crossed lovers: Halle Berry and Tom Hanks after the fall of civilisation

Star-crossed lovers: Halle Berry and Tom Hanks after the fall of civilisation

“Everything is connected” runs the rather unimaginative tagline for Cloud Atlas, a troubled, difficult but admirably ambitious fantasy/science fiction/drama feature, financed by a variety of German sources. The film, adapted from the highly regarded novel by British author David Mitchell, began life as a project of Tom Tykwer (Run Lola Run), who co-wrote the screenplay with the Wachowskis. Soon the trio agreed to co-direct the film, with Tykwer taking half of the film’s six inter-connected storylines, and the siblings taking the other three.

The generations-spanning tales of Cloud Atlas, loosely tied together by texts within the film, themes, and shared casting, are as follows:

  1. Following a successful slave deal in the Pacific Islands in 1849, a young lawyer (Jim Sturgess) sails back to America, but the voyage becomes a perilous one after he contracts a serious illness.
  2. In 1936, a Cambridge student of music (Ben Whishaw), disinherited by his father for being gay, flees to Scotland, where he teams up with a retired composer, but finds their collaboration inspiring his own opus.
  3. In 1970s San Francisco, a plucky reporter (Halle Berry) uncovers a conspiracy at a newly opened nuclear power station.
  4. A publisher (Jim Broadbent) in London in 2012 checks into a hotel recommended by his grudge-addled brother, only to find he has signed himself into a nursing home and cannot escape.
  5. In a dystopian future Seoul, Sonmi 451 (Doona Bae), a genetically enhanced clone designed only for fast-food service, discovers she can be more than her DNA demands, and joins an underground resistance movement.
  6. After the fall of civilisation, a goatherd (Tom Hanks) and his tribe of noble savages, who worship Sonmi as a god, live in fear of the barbaric hordes on their island as well as scientifically advanced visitors from across the sea.

 

Eschewing the book’s segmented rise and fall structure, in favour of intercutting between the six storylines, works in the film’s favour. It allows for some clever montage work, with narrative monologues stretching the story’s themes across the time divides. It also increasing the tension of certain action sequences by cutting them up with their equivalents in other times and places.

Clone but not forgotten: Sonmi (Doona Bae) learns of the real world from Hae-Joo Chang (Jim Sturgess)

Clone but not forgotten: Sonmi (Doona Bae) learns of the real world from Hae-Joo Chang (Jim Sturgess)

Of course, this intercutting leaves Cloud Atlas open to swathes of narrative imbalance. The 2012 storyline is so flippant it could be a Richard Curtis film – there’s plenty to enjoy in it, but its tiny scale is reduced to nothingness by the sky-cycle chases of Neo Seoul. The film spends nearly thrice as long detailing Tom Hanks’s adventures after the fall as it does in Jim Sturgess’s cabin on the voyage to America. Halle Berry’s storyline is paced like a trashy airport novel (a manuscript based on it is seen being considered by Jim Broadbent in the present), which works within itself but often jars when we return to other less genre-fixated storylines.

The casting is mostly strong, with only Hanks struggling at times to break free of typecast expectations. Ben Whishaw is admirably passionate. James D’Arcy, playing the only character to appear in two of the stories, transfers from youthful exuberance to bittersweet elderly nostalgia adeptly, with the help of some excellent makeup. Hugh Grant and Susan Sarandon deserve credit just for turning up. Hugo Weaving manages a new feat by stealing the film six times, in one story as a ruthless hitman, elsewhere a hallucinated manifestation of madness and evil, and again in full drag and fat suit, as the Nurse Ratched to Jim Broadbent’s Randle McMurphy.

The devil's in the detail: One of Hugo Weaving's memorable turns in Cloud Atlas

The devil’s in the detail: One of Hugo Weaving’s memorable turns in Cloud Atlas

Some of the multi-casting is confusing. Halle Berry appears briefly as a slave in the 1840s – are we to believe she is an ancestor, or a pre-incarnation of her ’70s character? If Tom Hanks is a reluctant hero in both the ’70s and after the fall, why would he be a psychotic Irish gangster in 2012? (the less said about that accent the better)

There is no denying that Tykwer and the Wachowski’s ambition got the better of them at times. Neo Seoul is all-too Blade Runner meets Minority Report. A scene charged with homoeroticism comes sadly laughably out of left field. The hybrid language of the people living after the fall often causes the ear to strain so hard to understand that the muscles in the back of your neck begin to seize up.

But the script is full of beautiful moments and flourishes of Mitchell’s language, and the themes – free will, doing what is right, and being more than what you are told you can be – are nicely fleshed out, even if they are not exactly revelatory.

Despite being directed in two chunks, Tykwer and the Wachowski’s film always looks and feels like the creation of one storyteller, a testament to their collaboration. Tom Tykwer’s score, composed with Johnny Klimek and Reinhold Heil, deserves special mention for tying so much of the action together, and never feeling out of place in any world or time.

If music be the food of love: Jim Broadbent and Ben Whishaw

If music be the food of love…: Jim Broadbent and Ben Whishaw

Its problems are many, but the sheer ambition and scope of Cloud Atlas makes it a worthy recommendation, far closer to Griffith’s Intolerance than Bill Forsyth’s Being Human.

Like recent visual splendours such as The Fall and The Fountain, which were similarly brought down by the weight of their own aspirations, Cloud Atlas’ appeal will not be great, but its small band of supporters will be fearsomely passionate about it. It will quite likely become a must-see for young students interested in philosophical films of supposed depth, regardless of what substances they consume to watch it.

More than anything else, Cloud Atlas should be noted for maintaining interest across its extreme length of nearly three hours, rarely losing one’s interest, even if that interest is severe dislike.

3/5

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Total Recall – An unmemorable remake

Colin Farrell as Doug ‘Dougie’ Quaid, aka Carl Hauser (aka Dougie Hauser?)

It’s hard to stifle a giggle as the lights go down for Total Recall when the name of the film’s production studio, Original Film, comes up on screen. Coming 22 years after the Paul Verhoeven-directed version, it’s hard to find much “original” about this Len Wiseman production, at least on the surface. It doesn’t help the filmmakers’ arguments that they insist the film is more closely based on the source material, Philip K. Dick’s short story ‘We Can Remember It For You Wholesale’; but really swathes of Total Recall 2012’s content comes from the 1990 film.

Wiseman, that packer of action who brought us the highly entertaining Live Free Or Die Hard (aka Die Hard 4.0) and the remarkably successful Underworld series, has here steered into cinemas an action movie that builds on its predecessor only in terms of gloss, not in terms of depth or content.

Colin Farrell, on autopilot, stars as Doug Quaid, a worker at a robot factory in a futuristic Britain, which has become the world’s sole superpower after a chemical holocaust made most of the planet uninhabitable. This ever-so-slightly despotic Britain rules over a colony, called the Colony, in what was once Australia, and its supposedly oppressed workforce are imported every day via a colossal elevator, the Fall, which connects the territories via the Earth’s core.

But Quaid is not who he thinks he is. Bored with his dull life and his outrageously beautiful wife (how?!), he attempts to have false memories of a more exciting reality inserted in his brain through a system called Rekall, only to cause a major system crash when it turns out he already has those memories, for real, and everything else has been inserted. Learning he is actually Carl Hauser, a military big wig turned pro-Colony freedom fighter, he goes on the run from the cops (both human and robot) and his wife, Lori (Kate Beckinsale), who is also an imposter and the top agent assigned to keep him under lock and key.

Soon Quaid/Hauser teams up with his real love interest Melina (Jessica Biel), and following clues left by himself before the memory implant embarks on a quest to save the Colony from all-out enslavement by the Big Brotherish Britain.

No-road rage: Kate Beckinsale in her magnetic hover car

Production-wise Total Recall has more money than it knows what to do with. Inspired by, amongst others, Blade Runner and Minority Report, it adequately shows a fusion of cultures (Asian and South American) in the Colony, and the soaring metropolis that has built up around London in the United Federation of Britain. And yet, there’s nothing particularly dystopic about this world. Its class system seems unfair, but not much worse than what we have at present, and the horror that the villains wish to unleash is never actually seen. Unlike the drab and lifeless world of Verhoeven’s Total Recall, this doesn’t look at all like the worst of possible futures.

Yet there are plenty of fine touches in the production; the gravity reversing elevator of the Fall feels fresh to sci-fi, while electric web guns, magnetic hover cars and a device that shoots hundreds of tiny cameras show signs of creativity and inspiration lacking in much of the script. Quaid finds himself tracked not by a bug in his brain as in the original film, but by a mobile phone built into his hand – a technology that feels not impossibly far off now.

Where Wiseman excels is in the lengthy action scenes, which include some barnstorming set pieces, all of which slightly overstay their welcome but never exhaust. Upon being surrounded by elite cops, Quaid proceeds to take them out in a frenetic, sweeping digitally altered single take, shortly before being confronted by his vicious, flexible fake wife, who proceeds to teach him a move or two. Beckinsale is given the majority of the best stunts to do, and performs them with plenty of panache – her knees-first slides are some of the most memorable moments in the film. A major central action piece, involving a series of elevators that can travel sideways as well as upwards, feels a little too much like a Mario Bros. game, with the characters leaping from platform to platform and avoiding getting crushed in corridors. Indeed, the entire film has quite a computer gamey feel to it. The epilepsy-inducing scrolling lens flares don’t help.

Jessica Biel and Colin Farrell in some sort of threatening situation or other

The screenplay by Kurt Wimmer (Equilibrium, Salt) and Mark Bomback (Die Hard 4) is as lacking in urgency as it is in one liners (comparatively, the 1990 film was written by Dan O’Bannon and Ronald Shusett, who wrote Alien). Worse still it fails to build in any way on the original story, which given 22 years has passed is almost inexcusable. In the interim audiences have been exposed to The Matrix, eXistenZ and Inception, so questions of reality and identity are no longer new, or even pressing. The one scene in the original Total Recall that truly questioned Quaid’s reality (he is confronted by a scientist who claims he is dreaming) is reproduced here in an exhaustingly extended form, where Quaid is confronted by a close friend rather than an expert. The conclusion to the scene is slightly different, but not enough to justify a Total Recall post-Matrix.

Even the always brilliant Bryan Cranston as the villain Cohaagen can’t elevate this film beyond a passing entertainment. Bill Nighy and John Cho show up in brief cameos, but they could be anyone. While Beckinsale looks as though she is always having plenty of fun (her husband directing may have given her free rein), Farrell only really pushes his limits during the action sequences, and slumps when he’s not on the run. A highlight of the film sees him come face to face with an interactive recording of his former self – the two Farrells are played by his very different guises, the clean-shaven, slick-haired, baby-faced Farrell of In Bruges and Phone Booth, and the goateed, dangerous Farrell of Daredevil and Intermission. It’s a cute touch. Meanwhile, Jessica Biel, usually a limited actress, is deadwood in a criminally underwritten role.

For all its gloss and bang, this is a fun but forgettable sci-fi action movie, that crucially fails to justify itself as a remake at this time. There’s plenty of talent evident, let’s just hope it can be used more substantially in future.

2/5

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An interview with Len Wiseman

Len Wiseman on set

I recently interviewed Hollywood action movie director Len Wiseman for Film Ireland magazine while he was in town to promote Total Recall (2012). We discussed his new film, how to structure an action sequence, the unfortunate censorship of Live Free or Die Hard/Die Hard 4.0 and the big question of the day: which was the better action movie, The Avengers or The Dark Knight Rises?

It took making a movie with Colin Farrell to get Len Wiseman to Ireland. The Californian director of Total Recall was on his star’s home turf for the European premiere of the movie, when I spoke with him at Dublin’s Merrion Hotel. Busy with press and the premiere that day, he assured me that Farrell had promised to show him the town before he left.

Wiseman, a director of high-octane video game-influenced action blockbusters was a strong choice to put in charge of this sci-fi remake, originally made by the Dutch master Paul Verhoeven in 1990. That film starred Arnold Schwarzenegger as Doug Quaid, a blue collar worker who discovers all his memories have been implanted, and he is actually a spy. Big shoes had to be filled, especially when remaking a film that was so commercially successful while also wooing critics. Wiseman launched his name through the Underworld movies, vampires versus werewolves romps, which he created and now produces – the series has now taken nearly $500,000,000 worldwide. His Total Recall, following The Dark Knight Rises into cinemas, has not had as warm a reception thus far. So what drew him to the project?

“It kind of came to me out of left field,” he admitted. “I’d been focused on prepping a different movie at the time that didn’t go through. They sent me a script, I actually read it with quite a bit of scepticism about what it would be. I’m a fan of the original, so I was more reading it trying to convince myself why not to do it. I was just hooked by the direction that it went in, it was a very different take, and it felt like such a different experience than the Verhoeven film.”

Wiseman is a fan of the original film, but confessed when he saw it first, aged 17, he was “just going to see the next Arnold action movie!” Years later, in college, he read the short story it was based on, ‘We Can Remember It For You Wholesale’, by sci-fi soothsayer Philip K. Dick, unaware of the connection. “I remember reading and thinking: ‘Hey this is that movie with Arnold Schwarzenegger!’ When I read the story it did have a very different kind of Quaid to me, and it was a different experience. So that’s what made me feel both more comfortable and [with the script]; it reminded me more of the short story.”

Total Recall (1990) and Total Recall (2012): How times have (sort of) changed

Verhoeven’s Total Recall can still surprise now, given that it touches on concepts such as “what is reality?” nearly 10 years before The Matrix and eXistenZ. So what message can Total Recall carry now, another 12 years later? Wiseman said the idea of implanting happier memories than the ones we have, through the sci-fi product ‘Rekall’, is more pertinent now than ever. “If the technology actually gets to the point where we can experience something like Rekall, is it the right thing to do?” he suggested. “Is it safe? To me it’s amazing that Philip K. Dick’s work, not just in this story, is so relevant. Some people just have a window into our future and where we’re going. I mean even Facebook, look at what we have today, we’re ordering up, putting up the pictures that we want, saying this is who I am, how I’m describing myself. I’ll leave out all the bad stuff. This is my alter ego of me, who I want to be. Rekall is an extension of that science. An extension of our technology of being actually able to say ‘this is who I want to be’.”

This Total Recall has a particularly glossy look, with its story shifting between a futuristic London and its enslaved colony in Australia. Influenced by the likes of Blade Runner and Minority Report and Wiseman’s ever-growing collection of sci-fi artwork (he refers to his home as a “big geek fest”), the director explained that his team also borrowed the look of Rio de Janeiro’s slums and Asian fishing villages to create a “hodge podge” of interlocking cultures. The decision to bathe the film in light was taken on his own distaste for underlit action movies. “I love to see what is going on,” he said, “both in my camera movements, in the way that things are choreographed. [Cinematographer] Paul Cameron did an amazing job. We talked about it a lot; that’s why there’s so much practical light within those sets, so we can have a reason to splash light all over the place. I think you can have a very dark image – Total Recall is very dark – but you can still see everything because the contrast level is able to be really dark when it’s black, but as long as you’re putting spots on everything that you need to see it works.”

And what about those extended, frenetic action scenes? “I think it’s very important for an action sequence to be its own story, and have a first act, second act, third act within the action. Otherwise it’s just relentless action – it doesn’t make any sense. There is a difference between just an action scene and an action sequence, and what it means to me is that in an action sequence you can remember the sequence, it should tell some story and ratch it up and tell its conclusion rather than just be noise and shaky cameras.”

Wiseman directs Jessica Biel

Perhaps the film’s finest moment is a sequence where Farrell’s Quaid rediscovers his talents as a spy and surprises himself by taking out a dozen SWAT team members in what appears to be a single, swooping take. “It appears to be!” Wiseman laughed, like a magician who delights in revealing his tricks. “That was something that was very difficult. It’s funny because when there’s something that people don’t quite grasp they go *snap fingers* “CG”, because we’re in a day and age where that’s commonplace. But it was 100% practical – it was put together with what are called super slider rigs, that they shoot football games with. They’re these remote cameras that move at about 35mph so you can’t man them. It was a lot of R&D on our end, but we put seven of those tracks together and what would happen is one of these cameras would go along at 35mph and when it crossed another one the computer would pick up and this one would take off from where the other left off. And we stitched all of those together. It took two days to shoot. Colin and the guys had to do the fight 22 times!”

Wiseman was clearly impressed with his leading man. “I had the funnest time with Colin. He’s a complete pleasure, and such a professional as well. And immensely funny, that’s one thing really struck me. He’s very talented, he has a hold body of work that’s wildly intelligent, but I was not aware of just how quick witted and funny he is. It really makes a difference on set to have somebody who’s devoted but also keeps it fun.”

Colin Farrell and Kate Beckinsale: Not-so-happily married

It’s less easy to ask Wiseman about working with his leading lady, Kate Beckinsale, without feeling as though your probing like a tabloid mag; the pair are married, having met on the set of the first Underworld film. She plays Lori, a spy pretending to be Quaid’s wife, keeping him under her thumb before having to hunt him down when he discovers who he is. I asked Wiseman if it’s coincidence he gave her character all the best lines. “A lot of those lines are her!” he replied. “Part of what I wanted from Kate and why I thought she’d be great for this movie is that people don’t realise through the Underworld movies or through the serious dramas and indies that she’s done is that she has such a sharp and fun and cunning sense of humour. And I knew that she would be able to bring a lot of that to the film. I wanted Laurie to have a taunting quality to Colin, and I knew that she would know how to bring that. So a lot of the one-liners are hers.”

Very much in demand these days, Bryan Cranston was cast as the totalitarian Chancellor Cohaagen, his first villainous role in a movie since his character Walter White shifted from hero to villain in his TV series Breaking Bad. The choice was an obvious one for Wiseman. “He was my first choice. I was watching Breaking Bad at the time and I was like ‘I’ve gotta work with this guy’. The thing that surprised me about him is that I had no idea about his other show (the sitcom Malcolm in the Middle, which ran for six years in the early ‘00s), so I didn’t see that side of him. I only know him as Walter White. So he shows up and I thought ‘You know what, this guy has such a menacing quality about him that he may be difficult to work with’. I was setting myself up for who knows. He could not be a sweeter guy! And I kept waiting for that [mean] side of him to come out … because he’s so great in that role as Walter White. He’s a dear guy but just has a great presence in the film.”

Colin Farrell regrets trying to steal meth from Bryan Cranston

Wiseman went on to tell me about his pre-Underworld days, when he worked as a props master on Independence Day director Roland Emmerich’s biggest films of the 1990s. He described the experience as “a bit of film school for me in terms of problem solving, technique and using a budget”, before sharing an anecdote in which Emmerich, despite having a $75,000,000 for Independence Day, was ordering sets to be built at the last minute from leftover pieces of other film’s sets. “We literally built this little set in an hour of a hallway that was needed, just on the fly, and then walk them through and done. That was really helpful.”

With a fifth film in the Die Hard series due next year, was Wiseman ever in the run for to direct it, following his successful fourth instalment Live Free Or Die Hard (aka Die Hard 4.0) back in 2007? “It was, it was. Bruce [Willis] kind of went out there publicly and said so, but I was already working. I would love to jump in the ring again, but I was already well into the mix.”

Bruce Willis in Live Free or Die Hard (4.0)

The director also admitted his disappointment at how the studio censored that film. “I shot a rated R movie,” he insisted, and referenced the ‘Harder’ cut available on DVD. “I had no idea it was going to be PG-13; that came in halfway through the process. And I gotta tell you as a fan I felt like “I’m gonna walk.” If they it PG-13! You know Bruce was really up in arms about it and everything. But in the end it was the most expensive Die Hard. It was also my first studio film, so I lost that battle over the rating. I’m not big on doing the cartoon gore. But McClane is McClane, so that’s really why I was glad to get that (the extended cut) out.”

The question all action movie fans need to be asked this summer is The Avengers or The Dark Knight Rises? Wiseman seemed very torn up about having to choose. “I actually thought beforehand ‘Dark Knight Rises is gonna hit it out of the park, but Avengers, that’s gonna be interesting, how are you gonna pull that one off?’ And I mean I was just watching [Avengers] thinking ‘I’m really liking this. It’s servicing the characters very well, it’s tying in very well, it’s really fun’, and I completely got into. I gotta say, the end of Dark Knight, how it all wrapped up and tied up I really liked. But Avengers was just… you walk out of that movie saying ‘That was so much fun.’ The difference is: Avengers I’ve seen twice.”

Kate Wiseman in Underworld: Evolution

So when the media circuit, or “circus” as Wiseman corrected me, for Total Recall is done, what will he do next? More Underworld? “I actually don’t know about Underworld!” he admitted, somewhat sheepishly. “I should be the right guy to ask, but I actually said there wasn’t going to be a fourth one! So I’m not sure about that. I’m producing a movie called Darkness, which is based off the Top Cow comic books. Then I’ve got two scripts that I’m working on – I’d love to get back to my own creations again.

“That’s how I started my career. Sequels and remakes are a thing of the past for me, I’d love to go back to getting my scripts off the ground.”

Total Recall is out in cinemas in Ireland and the UK now.

(originally published at http://www.filmireland.net)

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