ADRIFT (2018)

Based on a true story about a couple that was caught in a hurricane while sailing from Tahiti to San Diego and being adrift for 41 days afterwards, it's a definite survival movie. Unlike the action-packed volcanoes, floods, and earthquake movies, Adrift is a slow-burner. The film even starts after the hurricane, mid-way through the story, drip-feeding you backstory while jumping back to "present time" to follow the challenges of the protagonist. Initially, it seemed an odd move to structure the film in such a way, constantly switching between two different time periods, but it becomes an integral part of the plot, which is revealed late in the film but also implied throughout.

I was honestly unsure how I felt about Shailene Woodley in the lead role of this film. Rather unimpressed by her work in the Divergent film franchise, I couldn't help but go into the film with seeds of doubt already sown. That being said, she did very well. From the opening scenes, I found myself empathising with her character through the simple act of struggling to walk through debris in a cabin full of water. There is an absolute reality that humans, while we dominate on land, are abhorrently useless at physically moving through water, or controlling the many variables of the ocean.

When you think about it logically, you really do need extra substance to pad the movie (i.e. backstory), because watching people slowly starve to death would quickly turn boring. Switching between times keeps the interest and curiosity while building the relationship between the two protagonists. The relationship could certainly have been handled a lot better. The movie gives the impression that the entire build-up to the movie (and therefore the entire relationship) came up over a few days. It almost contrasts the pain that Woodley exhibits onscreen (which feels like something one would have gained from a longer matured connection). 

Sam Claflin does a lot with so little. His role in the film is more that of a spectator, but his presence is felt throughout every decision that Woodley makes. The film builds tension and suspense at the audience and adds a generous dash of misdirection and distractions to keep you guessing just that little bit longer. Beautifully shot, and grounded in the reality that it is based on. My only real gripe with the film is that after the big reveal, the movie simply rushes to an end. We have a strong female character who overcomes obstacles and survives in a situation that many could not have, and yet it plays out as if she could not have done so without the male presence. Some may argue that he, in fact, holds her back from accomplishing what she is able to do, but it goes without saying that he made an impact of the latter half of the timeline when his situation and contributions should have proved minimal use.

But it feeds the romance; the idea of a genuine relationship being worth any pain it may cause. I can't really say much more without going into spoiler territory, but Woodley provides a commanding performance in this film, and she does Tami Oldham's story justice.

Originally posted on: http://djin.nz/Kr7981

TAG (2018)

TAG is the movie that I didn't know that I needed to see. I never knew it was being made, I didn't know it was coming out this week. I didn't even know the real-life story that it was based on. It caught me unawares, and because of that, the unpredictable nature of this film really got legitimate laugh-out-loud moments from me. Not the usual "exhaling through the nose faster than normal" laugh. A full on cackle, with complete disregard for anybody else in the cinema. And for that alone, I must recommend this film. 

But I assume that may not be enough for you non-believers, so let's look at the cast. Jeremy Renner (Hawkeye from the MCU franchise), Ed Helms (Andy Bernard from US version of The Office), Jake Johnson (Nick Miller from New Girl), Hannibal Buress (Lincoln Rice of Broad City), Annabelle Wallis (Grace Burgess/Shelby from Peaky Blinders), Rashida Jones (Ann Perkins of Parks and Recreation), Isla Fisher (Rebel Alley from Arrested Development), Leslie Bibb (Casey from The Odd Couple), Jon Hamm (Don Draper from Mad Men). These are some well-established actors and actresses in the comedy and drama sectors, and (with the exception of Jeremy Renner) they pull off the enthusiasm and passion of their roles with ease and create an authentic feeling. Each character has that one or two defining points that help you differentiate them, because in reality, who they are is irrelevant. What matters is the game, and the significance of the game is portrayed exceptionally well. Jeremy Renner pulls off the action in the film very well, but the quality of his work actually ends up making him less realistic a character. No matter how good he is at what he does, it comes across more professional than real. 

Movies have been moving away from the classy pre-Daniel Craig James Bond fight scenes, towards the more technical and analytical action styles of Kingsman, Transporter, and Sherlock Holmes. I mention fight scenes, as, despite this very much being a comedy film about a group of friends, we all know that when games start getting competitive, all bets are off. It's this extreme response with over-the-top plans for a child's game that gives this film the hilarity that it has.

The premise is so simple; a game of tag, with a few rules in place, but the idea of carrying it on as an adult, using everything that is now available as an adult, and potentially 11 months out of the year to go into planning...brilliant. Decoys, distractions, traps, misdirection, blockers, and psychological warfare are all on the cards. What is real and what is a con is forever being questioned. The second half of the film does take a bit of a turn, from the free-for-all fun into serious drama, but it all serves the purpose of the film. Female and male characters alike are all strong characters (excluding Annabelle Wallis' character who has very little relevance to the plot), and the drama portions of the film are executed very convincingly. 

It combines the analytical slow-motion fight scenes of a Robert Downey Jr Sherlock Holmes movie, with the hilarious antics of The Hangover and American Pie, without needing to introduce illicit drugs, alcohol, or sex as a plot device. Granted, there is some marijuana and alcohol in the film, but they aren't present to drive the plot. The film does take the time to flesh out the characters slightly, touching on such notions as divorce, jealous and therapy, alcoholism and rehab, which while does little for the film, it grounds the characters personalities and makes them easier to empathise with, and also helps with the general need to normalise rehab and therapy in the real world.

Despite some adult themes, I found TAG to be a rather wholesome film, that has some great tips and ideas on strengthening long-lasting friendships. Loved it.

Originally posted on: http://djin.nz/Kr7978

OCEAN'S 8 (2018)

Ocean's 8 is the spin-off of the Ocean's franchise. Not a prequel or a direct sequel, but it does take place after Ocean's 13. Following in the footsteps of Ghostbusters, we have another attempt at remaking a popular Hollywood film with an all-female cast. Because of this extreme swing (in terms of pretty much swinging the lack of gender diversity 100% in the other direction), and the minimal presence of connections with the previous trilogy, I was unsure how successful the film would be. Ultimately, however, the success of a film comes down to the writing and directing. 

Ocean's 8 does struggle in this way. An effective Ocean's film involves a team of people who all have their own expertise that is necessary to pull off the heist. This is a portion of the film that is given very little dedicated time, and in the end, the heist feels like it could have actually been pulled off by a fraction of the people involved. Coming off like a Sandra Bullock movie, the remaining cast seem like minor set pieces in comparison. Even Anne Hathaway and Helena Bonham-Carter, just aren't fully utilised.

As far as plot goes, the storyline is very predictable, in fact, if you pay attention to the value of the target necklace and their payouts, the "twist" is incredibly obvious and the film suffers because of it. I enjoy these actresses in the other places I've seen them, but they feel wasted and under-utilised in this film. I want them to succeed, and I want the film to be engaging, but it feels like actresses pretending to be a character. Perhaps that is just an issue of using such well-known actresses, but I really struggled to see them as genuine people and not fictional characters. 

With very few obstacles to overcome, the heist is not portrayed as something that would actually be challenging, with all concerns being discovered and dealt with before the heist occurs. It leads to a rather unexciting heist, as it removes all of the factors that lead to suspense and tension. 

It is entertaining, I'll give it that. It isn't boring by any stretch of the imagination, but it falls below my expectations of an Ocean's franchise film (and for those looking to be excited at the girl power succeeding, they will be disappointed who was involved in the twist). It's a popcorn flick. Something to sit back and watch, without letting the brain work too hard, because it will start poking holes in the plot. Fun but not deep.

Originally posted on: http://djin.nz/Kr7976

IDEAL HOME (2018)

Really when you think about it, it's the same plot as the majority of modern dramas; present your protagonists, explain why their relationship is strained, add another element that threatens the relationship. I guess this is just how dramas work. Adding an unexpected child into the mix is par for the course, so the film isn't really breaking any new ground. The only thing that makes this film unique is the use of a same-sex couple as the protagonists and it is the source of the majority of the laughs in this comedic drama.

The conflicting personalities of Rudd and Coogan's characters, Paul and Erasmus (interesting that Paul Rudd gets to play a character of the same name) are what makes this work so well. The very different personalities are effectively on both ends of the personality spectrum, which means there is a high chance that the audience can empathise with the flamboyant, devil-may-care attitude of Erasmus, or the controlling responsibility and unequal love that Paul feels. Jack Gore does a brilliant job as "Bill", and walks that line between annoying and lovable, with ease. His portrayal of a cold, untrusting child with past emotional distresses is superb, and he was a good choice. The unequivocal difficulties of raising a child are on show, and it's a wholesome humour. 

Ideal Home has an ulterior motive, and it's pretty plain to see by the trailer and synopsis. Attempting to use mainstream Hollywood films to reassure the general public that same-sex partners can raise a child. The good thing about it is that it isn't in your face about it. In fact, Rudd and Coogan's onscreen romantic relationship comes across so authentically that you forget about their portrayed sexuality, as it just feels like any other couple. It isn't until the film ends and the preliminary credits start to roll, with a rolling slideshow of same-sex partners and their happy children, that the veil is dropped completely and the ulterior motive jumps out and slaps you in the face. I didn't think that same-sex partners having children was still an issue, but if it is, then kudos to Andrew Fleming, Rudd, and Coogan for getting involved.

As a parting comment, I've gotta say, Paul Rudd really suits the bearded look.

Originally posted on: http://djin.nz/Kr7969