Aftermath [mild spoilers]: follows two men after a fatal airplane collision that changes their lives forever. The film starts with a relentlessly grim and drawn-out opening act in which both leads deal with the shock of their situation, frequently tipping over into forced melodrama; it’s all very burdensome and somber. Where the film really fails to deliver is after a 70 minute gloomy setup; the ‘climactic payoff’ is far too brief, and then we get a post-script ‘years later’ scene that you could see coming a mile off. Stylistically, the film is equally austere, with a grayed out colour palate; it starts at Christmas for no real reason than to crank up the sorrow-o-meter; and contains some rather clunky imagery & parallels between the leads’ lives. Strangely, the movie takes a powerful real-life story and changes core elements that ultimately lessens the story’s impact in the fictionalized movie version. I’m a huge Arnie fan – and think he’s a better actor than he’s generally given credit for – however this film asks a little too much of him: there are moments where you can see him struggle with the emotions. Scoot McNairy is rather good, but doesn’t get a lot of gears to change through. From the director of Bltiz (a solid police action/drama) the lack of action and tunneled focus on tragedy feels like a huge – but just-missed – leap. Aftermath is by no means a bad film, but it is a very heavy film about a very heavy subject that you’d need to be in a particular mood to watch.
Non-Stop: an alcoholic veteran air marshal must figure out which of his passengers are picking the others off one by one until their ransom is met. To be fair, the director did all he could with this, but it’s a difficult task making a SMS conversation seem dramatic – although that can and has been done better with an even smaller scope. Neeson is in full-on Bryan Mills mode; the gruffly mumbling back-against-the-wall everyman with mad fighting skills and a character-defining family backstory. After the first couple of completely preposterous twisty-turney moments you learn not to think too hard about the rest of the plot. The one thing this film does have going for it is a sincere moment about the ‘Illusion of security’, which totally stands out against the dumbness of everything else going on. Probably an idea that sounded fantastic in a pitch, but was ultimately too great a task for the writers and director: leaving the end product feeling a bit daft. Japes on a plane! Proof that turkeys can fly! Plane rubbish! Etc etc…
– Dafuq Jeff – Plz stop sendin me grindr dik pics u basic bitch
– LOL IDGAF, shut yo skanky ass ratchet mouth #YOLO ¯\_(ツ)_/¯
Argo: one of the CIA’s clandestine experts creates a ‘real’ fake movie as the perfect cover-up to bring home 6 diplomats stuck behind enemy lines. The most obvious thing about Argo is the phenomenally chosen cast, particularly from the TV sphere; people representing Braking Bad, 24, The Good Wife, etc – everyone is on great form, doing their parts for the movie. Arkin and Goodman in particular get many great lines, which helps maintain the delicate balance between the drama & peril, and a tongue-in-cheek – almost knockabout – look at Hollywood in the early 80s (with a loving streak of appreciation for Sci-Fi B-movies). On that note, the immaculate, uncompromising, period detail adds an unusually thick layer of authenticity to the story. The film’s book-ended by some ridiculously tense, well-directed, moments of a siege and the final throes of an escape. There are a few minor issues; it feels a little longer than it needed to be, some of the drama comes from contrived methods (like the old “run that through the system again” trick); also, although it’s not a ‘political’ film per se – but it reeks of AMERICA, FUCK YEAH!! Bottom line, Argo is a solid, balanced (if somewhat over-dramatised), political/historical thriller, held together by a superb cast. It also looks like Ben Affleck is fast becoming one of the best Actor’s Directors around.
Killing Them Softly: a mob ‘enforcer’ investigates the robbery of a protected card game. the style is a bizarre mix of Indie/Arthouse, and cutting-edge (often trippy) blockbuster effects and visuals. The sound mix is equally as strange, mostly through the ‘background noise’ being deliberately amplified in almost every scene. The script is very dry, boring, overly – and offensively – misogynistic, and contains characters called Frankie, Mickey, Markie – which gets hard to follow at points. Most scenes are overlong and rambly, Gandalfini in particular gets far too much time. Pitt is the best in class, everyone else coasts on mob/Australian stereotypes. Scoot McNairy – decent performance, but hands-down THE most annoying voice of the year. There’s a blatant political/economic overtone – mostly through in-picture TVs/Radios – and it’s as subtle as a brick to the face. Most frustratingly,, it plays out exactly as you know it will; with no twists, turns, surprises or originality – and you can’t root for any of the characters. Killing Them Softly is a bleak / grim / crushingly realistic mobster-procedural critique of corporate culture (where underpaid people do the dirty work, and getting a decision from the bosses is impossible – original, huh?) – unfortunately, it’s nowhere near entertainment.
Monsters: a photographer has to deliver his boss’s daughter from central America back home to the US border, only problem is that the north of Mexico is now an alien infected zone. Yet another solid entry into the more believable area of the Sci-Fi section – alongside the likes of Primer, Children of Men, 2001, Moon, District 9, Running Man… Monsters is guerilla film-making at its smartest; every shot is framed perfectly and CGI’s sparingly used as the most is made of real people / locations / disasters / wrecks. The focus isn’t on big effects, but the atmosphere, which is probably the biggest reason why you can buy into the film. While the story’s pretty thin and basic, the chemistry between the on (and off) screen couple also sucks you right into their world. In saying that, for being the crux of the film the relationship angle is straight off-the-shelf; some poor bloke’s fiance is doubting their marriage when she meets a far more interesting guy – wonder how that will it turn out?! Everyone’s been banging on about how good Monsters is for the budget, big woop, a load of low and micro budget films have done well. The real inspiration that Gareth Edwards wrote, directed, filmed, edited and SFX’d an international hit off his own back. While this isn’t quite the full polished package it shows a lot of promise for a first time director. Can’t wait to see what he can deliver when the studios start throwing serious money at him.