THE DARK TOWER (2017)

The Dark Tower is based on the 8-book series written by Stephen King. A book series that spans 4000+ pages, condensed and adapted for a film that lasts only 95 minutes. That is the first of many issues with this film; it doesn't take the time to properly develop any characters. You are thrown into the thick of things, as the antagonists and protagonists rush to provide exposition as they continually accelerate towards each other. 

In general, I love Idris Elba's work to date. He has a gruff but lovable charm that woos the audience every time. But even that doesn't save him here. We have a deeply flawed character that has given up and ends up fighting for redemption, despite not wanting it. Matthew McConaughey is his usually confident, suave self and fits well with the character of Walter, this powerful sorcerer bent on destruction. These are the only two characters that really matter in the film. There is no room for anyone else. All other backstories and plot arcs are rendered insignificant, and the film struggles because of it.

Ignoring how much better the film could have been if it had taken more from the books and taken its time to develop its characters, even then it was lacking. Looking at it as a pure Sci-Fi/Fantasy/Action film, it still lacked direction. A storyline full of convenient plot devices means there is poor storytelling going on. It's difficult to tell whether having so many writers involved had an effect, but it certainly feels as if the film was a compromise between different ideas; no real direction, and no strength in characters. 

Visually, it was an interesting film. Watching two people from different worlds struggling to come to terms with the other's world. It was an action-packed "odd couple" show. An entertaining film, but nothing that engages the mind, or makes you want more. It is definitely a pity. The environments were intriguing, and Idris Elba's portrayal of Roland Deschain the Gunslinger was imposing and grandiose, but not enough to save the film.

Originally posted on: http://djin.nz/Kr7822

THE MAN WHO INVENTED CHRISTMAS (2017)

The entire premise of the film seems laughable; a period film based on an author's process of writing 'A Christmas Carol'. But what we end up with is an emotionally engaging drama. No matter how short an amount of screentime the actors get, every character feels genuine and authentic. Perhaps it is helped by the fact that I am less familiar with any of the cast (with the exception of Jonathan Pryce, who I recognise from the HBO TV series Game of Thrones), but I love watching a film, where I legitimately feel like I am watching the characters, and not actors pretending.

I have always had a sense of curiosity around creative people, wondering how they are able to come up with such elaborate stories and histories of fictional characters, so to watch "Charles Dickens" spend so much time and effort determining the name of a character that so perfectly fitted this unknown character that he wanted to portray was eye-opening. The idea of being haunted, bullied, and stalked by these characters throughout the creation of the story was a brilliant piece of work both plot-wise and aesthetically.

The story comes across as a bit of a slow burner, as you acclimate to the period of the film, and readjust yourself to a different way of living; simpler times, with stricter rules, but still has a charm to it. The characters are often aloof and argumentative, but the emotive and mood changing aspect of an artist's personality is a well-documented trait. So while you may disagree with their choices, you can still understand why they did it. 

There was a particularly heart-wrenching scene between Charles Dicken's and his father, where words were said, and the full gravity of the potential effects of those words are clear to see. We understand the justification, but we still feel for both characters. The realisation that many of his fictional characters are based on his own personality traits; both negative and positive. Emotionally, the film was exquisite. It really forces you to think unselfishly, to be generous towards others, and it did so in a creative and fun way that had surprisingly few scenes of Dicken's writing.

This is not just a retelling of 'A Christmas Carol', this is a behind the scenes look at its creation. A look at the parts of Dicken's family history that have created such character-defining traits in the well'known author, and provides an idea of the physically and mentally draining effect that the creative process had on everybody involved. 

I was unsure what to expect from this film, but I walk away from it with a firm appreciation. Highly recommended.

Originally posted on: http://djin.nz/Kr7813

ATOMIC BLONDE (2017)

As far as spy films go, until recently it's safe to say that the genre had gone stale; offering either rehashes and reboots of the always classy and perfect James Bond, or the always running away from explosions style of Mission Impossible's Ethan Hunt. The films stopped providing anything new and became stale, until such films as Spy Movie and the Kingsman franchise breathed a breath of fresh air, injecting humour into the genre. Atomic Blonde continues that trend of redefining the spy genre, with a more realistic take on being a spy.

Atomic Blonde strips away the glamorous cars, seductive models, private planes, expensive cocktails, tailored suits, sci-fi technology, and choreographed dancing (I mean fight scenes, where the protagonist receives minimal to no injuries). You get a realistic idea of what the life of a spy may be like; not knowing who to trust, the realisation that your mission must go on even if compromised, as your government will easily burn a liable asset, the knowledge that everybody you contact is either using you or at risk from people that want to use you. It's a brilliant piece of work that has you trying to determine each characters loyalties, but never providing enough downtime to be able to properly consider the facts; another more realistic aspect of time-sensitive matters. 

Visually, the environments are dark and gritty, and the characters are quite rightly standoffish and aloof. Attention to detail is evident, and the physical toll of constant combat can be seen on the face of the protagonist as the film progresses. 

Casting-wise, I've always enjoyed Charlize Theron. While she acted very well, aesthetically, she wasn't altogether convincing; she looked out of place right from the start, and that is something that doesn't seem to fit with "MI6's most lethal assassin" as it's hard to be an effective assassin when you stick out like a sore thumb. On the other hand, James McAvoy's portrayal of the MI6 Berlin station chief, who is heavily entrenched in the intelligence game, is superb. he almost blends into the surroundings in his own home and pulls off the "proper" spy look.

Atomic Blonde does come with its fair share of faults; mainly the constant laboured action throughout the film, but in the end, it is a very enjoyable film with a strong female protagonist that kicks ass. A refreshingly gritty; an almost modern European adaptation of Quentin Tarantino's Kill Bill.

Originally posted on: http://djin.nz/Kr7811

JUSTICE LEAGUE (2017)

Justice League follows on with the typical pacing that we have become accustomed to with DC after Batman vs Superman; where they cram multiple movies worth of content into a single film, trying to sum up new characters in a quick 5-10 minute side story. Realistically, I would have loved to have had a Cyborg and Aquaman origin movie take place before Justice League, simply so that we get a better idea of the personality of each character beforehand, and so that we aren't wasting time in the culmination of the Justice League faffing about introducing new main characters, their backstories, and even introducing the movie equivalent of NPC's (read: here's a scene added purely to create a cool but unnecessary moment later in the film).

With so many big names, you expect a lot of character development and great acting, and the latter was certainly present. But when you include so many main characters in one film they don't actually end up getting a lot of screentime. And this leads to a disconnected feeling between the characters. In regards, to an authentic feeling of putting together a team for the first time, it's pretty much on point. But from an effectiveness standpoint (i.e. the ability to save everyone from a world-ending power) they certainly lack any proper cohesion.

Individually, the casting was brilliant. It wasn't until I was sitting in the theatre looking at a large picture of the Justice League, that I noticed how much more ethnically diverse they all looked, from their original comic book sources. The great thing is that I almost didn't notice; better casting, that is not only inclusive but better representative of the world we live in. Batman and Wonder Woman have the best onscreen chemistry by far, which is certainly helped by their history in the DCEU so far. 

I was apprehensive about how well Ezra Miller's Flash would work on the screen. The trailers made him out to be a wise-cracking awkward individual and having seen several years of a successful TV Flash, I was unsure of how well he would fit. Fears were ultimately unfounded, with the Flash (and to an equal extent, Alfred the Butler) becoming a light-hearted and positive influence (and some brilliant comedic flair) to contrast the broody Batman and Cyborg characters. Still not a huge fan of his costume, but really it isn't a big issue at all.

But I really don't know what they were thinking with the villain, Steppenwolf. DC faced some backlash from the use of CGI in the villain Doomsday from Batman vs Superman, and yet they have upped the ante and increased the quantity of CGI in the film. All bad guys are faceless creatures, that provide nothing more than unrealistic cannon fodder. One minute there are literally thousands on the screen, then there is only a handful; the inconsistencies in strength and number of enemies really messes with your ability to truly understand the level of threat posed to the world or our heroes. Steppenwolf himself seems to be a rather lacklustre and uninteresting enemy (He seems incredibly weak compared to Doomsday who managed to kill Superman. Whereas Steppenwolf can't even lay a hand on him. Not to mention the fact that he doesn't even attempt to attack the Justice League beforehand, he only weakly defends against their attacks.

The tone of the film overall fits between Batman vs Superman and Wonder Woman in both quality and tone; lacking a strong, coherent storyline, but still able to convey positivity and some good vibes in amongst the doom and gloom. There is also some nice colouring choices (obviously helped by the large level of CGI in the film, where each character has their own colour profiles in their environment; Batman having dark and desaturated tones, compared to the bright, clear, natural brown and beige colours, or Steppenwolf's high contrasting darks, with bright, iridescent purples and orange.

This has fallen into the trap of trying to overreach. Trying to catch up to Marvel's Cinematic Universe, where they can throw multiple characters together, into any situation and reap huge profits. But they need to spend time introducing the characters first. Nevertheless, the film was enjoyable and got more than a few grins out of my usual pessimistic self. It's certainly a step in the right direction, and I certainly hope the Justice League members all get their own standalone films out of this (even Alfred. I'd love to see where he got all that sarcasm and snark from).

Originally posted on: http://djin.nz/Kr7805

BLADE OF THE IMMORTAL (2017)

Many of the younger generations are well aware of Matt Groening's animated TV series Futurama. Most of which would also remember the 'Parasites Lost', the episode where Fry eats a decaying egg salad sandwich from a vending machine at a truck stop, and ends up with microscopic worms that heal his body against injuries and illness, eventually improving his physique and giving him superior strength. Blade of the Immortal is effectively that storyline, reimagined in a style similar to Quentin Tarantino's Kill Bill movie series, starring a copy of Marvel's Wolverine.

While reasonably entertaining to watch, there are several aspects of the film that let down the film; the skills of the main character Manji, the quantity and quality of the enemies, and the climax of the film. 

Manji is a "highly skilled samurai", and we see great examples of this in the opening scene. Unfortunately, from that point on, he shows few further examples of his great skills. He certainly does create a large body count, but it wouldn't necessarily be thought of as skillful especially considering every major villain that he encounters manages to beat him, dealing a death blow, and Manji is only ever saved by the fact that he is immortal. 

The villains were also an unfortunate addition to the film. While initially we were treated with new, original ideas on villains, who had interesting aesthetics and different fighting styles, the original lineup introduced at the start of the film appeared to have been a misdirection. There was no real set number of bad guys that needed to be defeated. Instead, the protagonists end up on the receiving end of an endless barrage of forgettable, expendable enemies. The first two or three battles had you on the edge of your seat, but soon you become aware of the extent of Manji's immortality, and the level of threat drops considerably. 

The climax I won't go into as it will spoil the ending, but needless to say, things don't go as planned, and while it created an ending that wasn't necessarily predictable, you lost a large chunk of the minimal character development that occurred during the film. 

The film itself has desaturated colours, that provide a more authentic eastern feel, juxtaposing the usual high saturation of Hollywood films. While not necessarily to the extent of a Tarantino film, there is no aversion to the use of blood and gore in this film, and it creates something that will likely appeal to the young adult demographic. An action-packed film, but not something that would really hold interest over multiple viewings.

Originally posted on: http://djin.nz/Kr7791

BERLIN SYNDROME (2017)

Berlin Syndrome is one of those films that is intriguing, but also difficult to fully appreciate as a male. The prospect of being locked in a room after what was meant to be a one night stand seems like something I would personally put up a lot of fight about. I'd probably either find a way out or be snuffed out quickly due to being problematic. But I am a physically imposing male, with a lot of weight behind me. It is difficult to truly comprehend a situation where I could be completely physically dominated by someone else. 

This is what creates tension and suspense in the film; being in a position where you cannot overpower your captor, and being in a position where you weren't a spontaneous choice. You were planned. You were not the first. A situation where you are controlled to such an extent that the only time you can get new information is when your captor is present, and the only way to get your restrictions removed is to go along with his plans. 

As far as casting goes, it seems as if they chose one of the most European looking Australian actresses that they could find. Teresa Palmer is a naturally stunning woman, but with the de-saturation of colours throughout the film, she ends up looking more German than her co-star Max Riemelt who is German by birth. The film really struggled to get me to empathise with any of the characters. We never got to spend enough time with Teresa's character, Clare, before she gets into trouble, and thus there is no emotional investment in the character. Max Riemelt does well in his portrayal of Andi, a rather disturbed young man, who despite seeming to struggle at interpreting his own language, plays a compelling performance.

The layout of the film was a little bit odd. It felt more like a film about Andi, than a film about Clare, who I thought was the main protagonist. The film would have been much more emotionally investing if it had stuck with Clare throughout the film, rather than jumping between the two characters. While the way it has been done certainly helped to explain Andi's tics and accentuate his social oddities, at did little to highlight Clare's situation. I would have been much more convinced if I only knew as much as she did.

Berlin Syndrome is like watching a failing marriage; watching one partner purposefully antagonise the other in order to get a reaction. It feels awkward to watch, it feels weird, but it doesn't feel dangerous until the climax of the film. The climax did get my interest. There was finally something exciting going on, but it was too little too late. Not a film I would watch again.

Originally posted on: http://djin.nz/Kr7767

THE FLORIDA PROJECT (2017)

The Florida Project is a film for critics and film students. It exists to bring to light the lives of those of lower socioeconomic status and provides a litany of scenes to critique and discuss. For the regular movie crowd that has become accustomed to Hollywood "beautiful people and fast-paced action" films, this will fall short due to the lack of progress and direction of the film. Wikipedia is able to describe the plot in only one sentence; "Set during the summer, Moonee, a precocious 6-year-old girl, lives with her mother Halley in a community of extended-stay motel guests in Kissimmee, Florida." If that doesn't intrigue you, then this isn't the film for you, and you need not read any further.

The film provides a look at the disparity between the image that Disneyland portrays within its boundaries compared to the surrounding areas. Areas once full of potential accommodation lots to cater to incoming tourists, that have since fallen into disrepair, been abandoned, and reduced to low-income housing for those that struggle are one missed payment away from being homeless. Areas where arson, vandalism, drug use, alcoholism, and assault, are par for the course. But this is the area where the leading lady (our six-year-old Brooklyn Kimberly Prince, aka Moonee) thrives. She holds the innocence of a child, with the wisdom of a teenager. While she may not be able to comprehend the full context of every little play, she is a girl that has lived around a revolving door of people, and in turn has learned to recognise their quirks, and how to manipulate people to get her way. Whether it's trying to get free meals from a family friend, free ice cream by begging from strangers, or using peoples kindness to help her reach her own goals.

These are skills that she has picked up from Halley, her young, single mother, who embodies the respectfulness of a cream pie to the face. Disenfranchised about the world, she has long ago given up, in every manner but one (providing for her daughter), and we watch as doors close around her one by one and she spirals into a nosedive that she cannot escape. Portrayed by Bria Vinaite, Halley is a character that creates conflicting opinions.' she is both an absent mother, and a loving mother. We watch as she steals and scams tourists, undercuts larger companies, lies and manipulates people, and if she doesn't get her way we watch as she explodes in anger, with violence, coarse words, and spiteful actions. But we also watch her take every step that she can to keep a roof over her child's head, provides a level of habit and routine, and when she gets a windfall, all the spoils go to her daughter.

The film almost comes across as a documentary, as we watch Moonee corral her friends towards any adventures at any cost. They make do with the bare minimum of provisions and still enjoy every single day, whether it be spitting on a car from a balcony, or going on a rural safari to see some cows. Even if a friend gets grounded, Moonee fills that gap with another child from the neighbouring motel that she only just met. She's a child of opportunity and she takes every available one, no matter the consequence. 

Willem Dafoe is the anchor in this movie, affording the positive male influence that is missing from many of these children's lives. Portraying Bobby, the owner of the Magic Castle Motel that Halley and Moonee live in, Dafoe has a role that is sparse and injected into little bits throughout the film. But he is still connected to every piece and takes personal responsibility for many things that are above the call of duty because he has that spark of humanity in him. He is definitely the most endearing adult character in the film, and you can see the struggle that he goes through every day ensuring his tenants pay up, but being as accommodating as possible because he knows they have no alternatives.

The film is shot beautifully, with the colours giving a youthful nostalgic feel, while the use of shadows brings back the reality and drudgery. The film feels real; there is no real resolution, people don't talk about their problems, everything is a form of conflict, people act irrationally out of spite and anger, instead of a journey with a direction it's repeating habits day in day out, and it's all there on the screen. It serves as a great reminder that the world is not always what you see. There is darkness amongst the light, and light amongst the darkness. The Florida Project attempts to bring this to the forefront. But what am I meant to do with this information?

Originally posted on: http://djin.nz/Kr7771