The Avengers (AKA Avengers Assemble): ensemble super-cast of characters (and actors) have to save the world from Loki and his army of robo-alien minions. Everything about this flick aims to please: it does a good job of linking Hulk, Iron Man, Captain America, Thor and a few other superheroes together; we get to see superheroes take on bad guys, superheroes brakin’ up monsters, and superheroes fighting each other; Black window is even thrown in as the gratuitous hottie – no complaints. There’s a solid streak of humour, with a bunch of surprisingly funny lines that had the entire cinema laughing. Also, why do people still live in Manhattan when it gets attacked this often? After years of buildup, drip-fed snippets, extended trailers and bags o’ hype, the final product is better than the cynic in me was dreading. The Avengers is a summer blockbuster in every sense of the word: big cast, big budget, big story, big spectacle, big runtime, big characters, big laughs, big noises… BIG FUN! Directed by Joss Whedon, this is a well made, lovingly crafted, humourous mega-buster.
The Girl with the Dragon Tattoo: essentially an English language, scene for scene, character for character and detail for detail re-make of the Swedish original film adaptation. The over-stylised James Bond-esque opening credits paired with NIN industrial techno Led Zep remix are fantastic, and promise something fresh/new; unfortunately the rest of the film fails to deliver as it copies almost everything from the original. Most annoyingly, it’s still set in Sweden and full of Europeans talking in ‘svee-deesh’ – it’s like watching a professional dubbing of the original. Character-wise, Daniel Craig is good, but Nyqvist has the edge as the flawed idealist journalist; Rooney Mara is very watchable as Lisbeth Salander, but it feels like a good imitation of Rapace’s portrayal. In all honesty, both pairs of boots were almost impossible to fill. The rest of the cast deliver, but again, have very little room to put any new stamp on the characters. As a stand-alone film, it is good (although it would have been hard to mess up sticking to the original). All is not lost though, as the 2nd/3rd Swedish films weren’t perfect, and have far more room for improvement. As someone who saw and loved the original, this lacks any of the impact that the modern twist on the classic murder mystery had – this just feels redundant and unimaginative. Expected a something better from a director of David Fincher‘s calibre.
Review of the original
Melancholia: follows a group of upper-class people with first world problems as a stray planet is scheduled to do a close fly-by past earth. This film feels like Von Trier spunked most the budget in the opening and closing 5 minutes with the arty, expensive-looking, Tree-of-life-esque scenes – then worried about filling the rest as an afterthought. For being an ‘apocalyptic drama’ there’s not enough apocalypse or drama in the story for my liking. Dividing the film into two chapter-parts is ridiculous: part one is dedicated to Kirsten Dunst’s chest, at her wedding (which is brimming with pomposity) and showing us that her character is a total dickhead – this goes on for far too long. Part two is more of the same but focusing on Gainsbourg and her flaws… The film looks pretty good (cutting edge SHD Arri Alexa cameras) and is shot well barring the uber-shaky cam scenes. The acting’s also decent, but not as amazing as is being made out. The bottom line here is that it appears Mr Von Trier seems to have lost his flare for proper stories and proper storytelling. Annoyingly boring, really should have walked out.
Thor: after putting the galaxy’s’ peace at risk Thor is cast out to Earth until he learns to tone down the arrogance, and ramp up the leadership. This is one of the most eclectic mixes of a film I can remember seeing; there’s oodles of tongue-in-cheek camp, so much so that everybody seems to think they’re in an amateur stage play; there’s about 30 characters all turning it up to eleven and vying for attention – not to mention robots, goblins, gods, scientists and feds. Most annoyingly, the SFX are insanely overused – reminiscent of the first wave of GCI laden 90s films. The action scenes are also poorly done – resulting in a series of blurry smashes and explosions until there’s a body is lying on the ground / frozen in ice. The bottom line is that the tone, style and elements of Thor are so erratic, that it ends up feeling like a film that exists just to be the next comic book film. Big, bright, loud and stupid, Michael Bay would be so proud