CREED II (2018)

Simply put, I am not a huge fan of sports. There is many a thing that I would rather do than watch sports. So I know the film is great when I'm being drawn into it. When I start feeling emotionally invested in the characters.

In all honesty, the film does start off rather weakly. The initially heavyweight match is decidedly uninteresting, and as the first event of the film, nobody is really invested. The film uses a fair amount of narration to try and bridge the gap between the ending of the first Creed film and the beginning of this sequel, but that is a well-known characteristic of poor writing. Every character is thrust into the limelight, whether it is being provided with a world heavyweight title or a recording contract, and it doesn't come off overly authentic. But as the film progresses, and we start spending more time "behind the scenes" the strings of emotional attachment begin to take hold. 

The film (when you exclude the heavyweight title match in the opening scene) is well paced. There is a sense of urgency throughout, which is well-developed thanks to Russell Hornsby's character Buddy Marcelle, whose frequent appearances are a constant reminder of what the unseen public are demanding, and serve as a ticking clock.

Everybody loves an underdog story, and Creed II attempts to pull off two underdog stories in the one film, from both the antagonist and protagonist, taking a much more rounded approach to the characters. Instead of the usual "Russians are the bad guys" trope, which of course was the thing to do back in the days of Rocky IV, we get to revisit those characters and develop them further. We see the effects of the loss in Rocky IV on Ivan Drago, and his need to regain the love of his country and his wife turned into an obsession that affected not only himself but now included his own son. In the end, we start to feel sympathy for both sides.

All being a part of the Rocky Franchise, there is a good level of nostalgia and backstory, that is now fully inter-generational, providing another area that the audience can empathise with. Rocky movies have of course never been known for having fully fleshed out characters. A very simple boxing premise that has grown into a fleshed out alternative timeline. 

While I love how the arc between Ivan and Viktor came to a close, I wish Ivan and Rocky were able to work on their own arc. The seeds of redemption have been sown and I would have loved to have seen it fully-formed, but it did fall just short in that regard. Rocky was really the only character who accomplished very little in this film; what development his character had, had no effect on the plot whatsoever. 

There are many facets of the movie that I could talk about, but they would spoil the movie, and I don't want to do that. And I haven't even really talked about the action/fight side of it really. That alone tells you the emotional weight that the film carries. This isn't just an "I have to train harder to beat him" movie. The emotional aspect is as important, if not more so.

The fights themselves were very well choreographed, each hit feeling heavy and strong, with great camerawork, that showed the power of each opponent. Speed, power, and variety in strikes and styles kept everything interesting and provided great insight into tactics behind the sport of boxing. It also placed a lot of emphasis on the dangers of boxing and the risk of death or permanent brain damage if the match is taken too far.

A well-rounded movie with plenty of action, and by the end of it, some well-rounded characters that you want to see win in one way or another. A long-term look at the consequences of one man's actions early in life affecting a broader circle of people many years down the line. An engaging movie that is well worth a watch.

Originally posted on: http://djin.nz/Kr8125

JOURNEY'S END (2017)

War films are an incredibly emotive genre when they are done right. The whole concept of watching a group of people fighting and risking their lives for what they believe is in the best interest of their country. It is an incredibly selfless act, that no matter what the nationality, you can really empathise with that nationalism and patriotism. This is the fifth film adaptation of what was originally a theatrical play, but as I have seen none of the previous iterations, I won't be looking to make any form of comparison. I will be simply judging the film based on its own merits; as if it were an original plot.

Following a company of British infantry on the frontline trenches, fulfilling their six-day obligation before the next company takes their place, they await an attack from the German lines as they struggle with the things that they have experienced so far. When they receive information that the Germans will attack before their shift ends, and they will be expected to hold their position with no support, the film truly begins.

While technically a spoiler, it is such a vital part of the direction of the film (and the title gives it away to an extent anyway). It creates such an emotional situation when the men are effectively told that they have only a few days remaining to live. Watching the various ways of dealing with the situation, whether it be trying to escape, "self-medicating", or making the most of the solidarity of the group to distract themselves from the noose hanging over their heads. From brand new days old Officers to broken-down Captains, there is a multitude of different perspectives that cover early every possible option. 

Visibly speaking, the colour grading is striking. In what appears to be mostly shot with just natural light, the colours are faded and murky and have a very wet, dirty vibe. With most shots done from within the trenches, there is a very restrictive, claustrophobic atmosphere that suits the content of the film well. 

Casting-wise, I am truly feeling the over-saturation of the Marvel Cinematic Universe, with the three main cast coming across like Vision, Iron Man, and Spider-Man of the Avengers franchise. Helped by the fact that Lieutenant Osborne is played by Vision actor Paul Bettany. One of the strongest characters in the film, Osborne is the grounded elder of the group, who takes most things in his stride, and has the biggest heart of them all. Captain Stanhope (played by Sam Claflin) has a very Johnny Depp meets Henry Cavill look to him, and his mopey attitude would go well in the DC Extended Universe. Overall his character is far less likeable but one of the more genuine portrayals, with mental instability, struggling with the responsibilities foisted upon him. 

Asa Butterfield's portrayal of the young Second Lieutenant Raleigh didn't fit quite so well. Despite being a freshman in the field, Raleigh came across far too innocent to be in the position that he was in. That being said his performance later in the film was very well done, showing how quickly one came become jaded, and their longstanding beliefs and perspectives shattered. The real surprising performances came from supporting cast Stephen James and Toby Jones. James, adding an air of positivity and control in tense situations, and Jones whose cuisine compromises created moments of levity in other inhospitable situations. 

A slow starter, the film does struggle to get to its feet. Once the pieces are in place, however, and the timer starts to count down, the level of tension and suspense keeps you glued to your seat. Several layers of uncertainty add to the tension and elevate the emotive potential.

100 years of from the end of World War I, it's a fitting time to remind viewers of the other side of the coin. There is the often glamorised side of war, that paints fighting for your country as the best thing you can do for your country, but there is the often forgotten side that poor decisions are made, and lives are ended with nary a thought. Soldiers are expendable to those higher up. All lives matter, no matter the side, and the fragility of those lives is certainly on display here.

Originally posted to: http://djin.nz/Kr8077

SUSPIRIA (2018)

A supernatural/fantasy horror, Suspiria doesn't follow the usual tropes of the genres. In fact, it barely even follows the original film it is based on. While having many of the same character names and taking place in a dance school, the rest of the film is drastically different, to the point that the film is more influenced by the original, rather than being based on it.

Split into six acts and an epilogue, Suspiria has the lengthy run time of two and a half hours, and it uses that extra time to really stretch out the film. The stretching is an aspect of the film that will likely polarise the audience, either coming across as unnecessary and in need of trimming, or a fresh method to bring in tension and suspense without the need for jump scares (because we all know jump scares are so lazy). 

From this reviewers perspective, I was hit with both sides of it. There is a general intrigue in the opening acts of the film if you are unaware of the premise, as you are simply introduced to a doctor and an unstable paranoid woman ranting about people stealing her eyes. Unravelling the truth from the fiction takes a very long time, as the crux of the horror plot is not revealed until a fair way into the film. This adds a lot of tension and suspense, as the uncomfortable vibe you get from many of the characters remains unexplained for so long. That being said, once the reveal comes through and the mechanics are revealed, the film does begin to feel unnecessarily slow. Once the end destination is revealed horrors really aren't helped by the slow pace.

But there is much about the film that is enjoyable to watch, The entire dance style is energetic and physical, as are many of the stunts (including one of most integral parts of the reveal). The strong, raw, sexual nature of the movements are mesmerizing and the amount of the stunts and effects that are completed practically is impressive. The final scenes will again be polarizing; the blood and gore levels finally pay off the slow build of the film, but the eclectic shaky camera shots, rapid cuts, and visual effects jam everything into the single sequence which is certainly over-the-top. Colours are quite subtle, with a faded colour grading, which is again the complete opposite of the original film. Though there is an injection of colour into the final act.

Perhaps one of the weirder things to not about the film, was Tilda Swinton's roles; as she takes on not one, but three characters in the film, including that of a geriatric man (who does end up completely naked at one point in the film). While the multiple roles are not relevant to the plot at all, it is interesting nonetheless. 

The purpose of the dance and the need for dancers is really the big appeal in the film, and I would have really loved to have seen that explored a bit more fully, instead of it all building towards one single act. But Suspiria really pushes the boundaries of what makes a modern horror; avoiding jump scares, long-length, and villains that are out in the open, all create an extensively uncomfortable experience that is a unique way to bring tension. 

Long, but distinctive, with a strong cast of women. Worth checking out.

Originally posted on: http://djin.nz/Kr8111