The Accountant (2016)

Featured

2017 #73
Gavin O’Connor | 128 mins | download (HD) | 2.40:1 | USA / English | 15 / R

The Accountant

In this action-thriller from the director of the overrated Warrior, Ben Affleck stars as Chris Wolff, an autistic accountant who excels at auditing complex financial records. No, wait! I did say action-thriller, because Chris’ clients are mostly criminal organisations, and he uses the martial arts training his father instilled as a child to double up as a hitman. See, it’s exciting really.

When Chris is called to audit a robotics company (run by John Lithgow) who have found irregularities in their books (why this criminal accountant is called to work for a legit company I can’t remember, but I’m sure it was explained in the film), he unexpectedly bonds with Dana (Anna Kendrick), the company accountant who spotted the problem. After his audit unearths evidence of embezzlement, both Chris and Dana find themselves the target of bad people (led by Jon Bernthal) who want to keep the company’s secrets. Meanwhile, a couple of FBI agents (J.K. Simmons and Cynthia Addai-Robinson) are on the trail of the mysterious criminal known primarily as “the Accountant”…

Maths!

The Accountant has lots of moving bits and pieces — I’ve not even alluded to all of them in that summary — but to call it a complicated film would be either too generous or a disservice, depending on your point of view. There’s a clarity to it all that keeps it easy to follow but suitably engaging, even as it plays out multiple storylines in a couple of time periods (there are flashbacks aplenty to Chris’ childhood training). And if you’re thinking, “finally a film that makes accounting exciting!”, I’m sorry to disappoint you but Chris’ maths skills are really just a MacGuffin to get the ball rolling. What it does deliver is a decent thriller plot, with a couple of twists to keep things lively. It’s also a pretty satisfying narrative — I’m not sure there’s ever been another movie that so thoroughly tied up everything into nice neat little bows. I suppose that’s at least kind of appropriate given the hero’s condition.

The action element is mainly reserved for the second half, when Chris has to deal with the people out to get him. This isn’t one for adrenaline junkies — it’s not a nonstop fight-fest like, say, a Bourne movie — but there’s a suitably violent climax nonetheless.

Shooting!

In some respects The Accountant shouldn’t be a good movie. It treats autism as a superpower, which is both inaccurate and turning into a cliché; but it doesn’t do it so egregiously that it feels entirely tacky. The whole side story with the FBI also feels kind of clunky, though at least eventually goes somewhere — whether that somewhere is relevant and clever, or pointless and daft for the sake of a twist, is up to your own judgement. Same goes for the other major final-act reveal.

Yet, for all that, it’s kind of fun. Not in the obvious jokey way that, say, Guardians of the Galaxy is fun, but in the way that it provides decent characters, decent thrills, decent action, and a thorough set of conclusions that put pins in everything, including things you didn’t even think needed tying up. There may be points in the middle when you come close to rolling your eyes and almost wanting to give up on it, but by the end it’s all pretty satisfying.

4 out of 5

The Accountant is available on Sky Cinema from today.

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21 (2008)

2017 #114
Robert Luketic | 123 mins | streaming (HD) | 2.35:1 | USA / English | 12 / PG-13

21

21 is based on a true story. Actually, it’s based on a book that’s based on a true story. Bringing Down the House by Ben Mezrich was a non-fiction bestseller, telling the fun and exciting story of the MIT blackjack team, a bunch of college kids who learnt card counting and took Vegas for millions of dollars. It was such a popular book that all the attention made people look into it, and it turned out it was heavily fictionalised — Mezrich not only exaggerated events, he flat out invented whole chunks of the story. (At the same time, he also left out some good stuff.) In turn, the book has itself been heavily melodramatised for this movie adaptation. What we’re left with is probably about as close to the truth as Game of Thrones is a fair depiction of the Wars of the Roses: some of it happened, but not to those people, not in that way, not at that time, and certainly not all of it.

As a film, it’s been mashed broadly into the heist movie template. Setting aside the veracity and treating it purely as an entertainment, this has pros and cons. Whenever it’s whizzing around in Vegas it’s kinda fun, with flashy camerawork and a slick feel for the excitement of being a successful high-roller. But when it puts that aside to get stuck into the characters’ thinly-drawn personal lives, it gets kinda dull. Part of the point of the book is how boring normal life began to seem to the team when compared to their Vegas lifestyle, but 21 tacks on more interpersonal subplots that just become finger-drumming.

Counting cards

Trying to make the chosen genre function isn’t helped by the fact that there’s no complicated heist here. The blackjack team are doing the same thing over and over — that’s basically how their system works as a moneymaker — and once the system’s been explained and we see it in action, the film only has a few ways to jazz that up. Between that and those subplots, at over two hours 21 is much longer than it needs to be, but doesn’t focus that time in the right areas: at least one major character undergoes a huge personality change across a single montage.

21’s got enough pizzazz to make it enjoyable purely as a lightweight movie experience, but you do have to wonder: would the incredible real story, by dint of being true and not movieised to fit a genre template, actually have been more interesting?

3 out of 5

Jaws (1975)

The 100 Films Guide to…

See it before you go swimming.

Country: USA
Language: English
Runtime: 124 minutes
BBFC: A (1975) | PG (1987) | 12A (2012)
MPAA: PG

Original Release: 20th June 1975 (USA)
UK Release: 26th December 1975
Budget: $7-12 million (sources vary)
Worldwide Gross: $470.6 million

Stars
Roy Scheider (The French Connection, All That Jazz)
Robert Shaw (From Russia with Love, The Sting)
Richard Dreyfuss (Close Encounters of the Third Kind, Poseidon)
Lorraine Gary (Jaws 2, 1941)

Director
Steven Spielberg (The Sugarland Express, E.T. the Extra-Terrestrial)

Screenwriters
Peter Benchley (The Deep, The Island)
Carl Gottlieb (Jaws 2, The Jerk)

Based on
Jaws, a novel by Peter Benchley.


The Story
As the seaside resort of Amity Island prepares for the lucrative 4th of July weekend, a series of violent shark attacks threaten the lives of residents and holidaymakers alike.

Our Heroes
Police chief Martin Brody is the one lumped with having to work out how to stop a man-eating shark, battling both small-town politics as well as the underwater predator. Eventually he’s aided by Matt Hooper, a young shark expert, and Quint, a salty old shark hunter.

Our Villain
A 25ft great white shark, with a taste for human flesh.

Best Supporting Character
Amity’s Mayor just wants what’s best for his town and its people — which, in this case, is having the beaches open for July 4th, whether people might get eaten or not.

Memorable Quote
“You’re gonna need a bigger boat.” — Brody

Memorable Scene
A group of young people sit on the beach at night drinking. The eyes of a boy and girl meet. They race off towards the sea, stripping as they go. She gets into the water first, while he’s too drunk to get his clothes off. She messes around in the ocean while he passes out on the sand. Then, she notices something underneath the water — something that grabs her — and… well, it doesn’t end well.

Memorable Music
John Williams’ famous, simple main theme is the definitive musical interpretation of approaching terror. When Spielberg first heard it, he thought it was a joke. Later, he said it was half of what made the film so successful.

Making of
Three mechanical sharks were built for the film, but no one thought to test them in water before taking them on location. They kept malfunctioning, causing a constant headache throughout production — because of them and other issues of shooting at sea, the film’s 55-day schedule ended up taking 159 days, and the $3.5 million budget ballooned to as much as $12 million. On the bright side, Spielberg had to work out how to shoot material around the unavailability of the sharks, which led to him taking a Hitchcockian approach of showing the ‘monster’ as little as possible, which was ultimately a benefit to the film’s effectiveness.

Next time…
Jaws was the highest grossing film of all time, so naturally there were a series of cash-grab sequels. As far as I was aware they were universally condemned, so I’d never paid them any heed, but I recently read a review that made me think I should give them a go. It said Jaws 2 wasn’t actually all that bad, Jaws 3-D was trashy fun, and Jaws: The Revenge… well, in for a penny, in for a pound, I guess. Incidentally, the last one is the film of which star Michael Caine famously said, “I have never seen it, but by all accounts it is terrible. However, I have seen the house that it built, and it is terrific.”

Awards
3 Oscars (Editing, Sound, Original Dramatic Score)
1 Oscar nomination (Picture)
1 BAFTA (Music (also for The Towering Inferno))
6 BAFTA nominations (Film, Director, Actor (Richard Dreyfuss), Screenplay, Editing, Sound)
1 Grammy (Original Score Written for a Motion Picture or Television Special)

Verdict

It’s easy to start discussing Jaws in terms of it being the first summer blockbuster, or its troubled production, or the effect it had on audiences’ desire to go swimming. But divorced from all that, as a film in its own right, it’s a thrilling adventure movie — a man vs. a shark, when it comes down to it. It’s so packed with memorable shots and moments — be they horrific shark attacks, improvised one-liners, or precisely calibrated jump scares — that it’s no wonder it made Spielberg’s name. Personally, I feel the pace flags a bit once the three men get on a boat and go shark hunting, which slightly holds me back from completely loving it. Quibbles aside, it’s still a classic of suspense.

Death Note (2017)

2017 #115
Adam Wingard | 100 mins | streaming (4K) | 2.35:1 | USA / English | 18

Death Note

Something of a global phenomenon in the ’00s, Death Note started life as a manga, is perhaps best known for its anime adaptation, was adapted into a series of live-action films (I reviewed the first two last week), adapted again as a live-action TV series, and was even turned into a musical. Although it’s taken a while, finally the inevitable is here: an American remake. After passing through several studios, it’s wound up with Netflix, under the helmsmanship of Adam Wingard. Thus, I was hoping for the new film from the director of The Guest. Instead, I got the new film from the director of Blair Witch. And much like Blair Witch, this is a ham-fisted reimagining of a once-popular franchise.

This incarnation of the story concerns Light Turner (Nat Wolff), a Seattle high school student who one day discovers the mysterious Death Note, a notebook with the power to kill just by writing someone’s name in it. Goaded into using it by the demonic death-god Ryuk (voiced by Willem Dafoe), Light soon teams up with his crush Mia (Margaret Qualley) and they set about murdering criminals. Their actions become famous under the alias Kira, which they hope to use to establish a new world order. But hot on the case is a mysterious super detective known only as L (Lakeith Stanfield), who engages Kira in a battle of wits.

As with so many things nowadays, the US version of Death Note has been dogged by accusations of whitewashing. As seems to be the case at least half the time, these accusations are largely unfounded. If this had kept the Japanese settings and character names but given them white faces, fair enough, but it hasn’t — it’s relocated to America, with American characters. It’s no different to all the other new-country remakes that have always happened (and also goes on the other way, with US movies remade in Bollywood and Asia, we just don’t hear about them very often here).

Light vs L

Unfortunately, Death Note: America has genuine problems to contend with. Despite that reimagining status, it’s still understandably shackled to the broad shape of the original work. Consequently, it glosses over some of the more interesting implications of the premise in its rush to make Kira famous and introduce L. Partly that’s what happens when you condense so much story into just 100 minutes, but it’s also because it’s beholden to bringing in L and starting his cat-and-mouse game with Light. When I reviewed the Japanese live-action movies, I didn’t think Light and L’s battle of wits was as clever as the films clearly thought they were, and it’s even worse here.

There would seem to be more fertile and interesting ground for exploration in why Light and Mia are trying to establish a new world order — what exactly they think that means; what motivates them to do it; and how they intend to achieve it. On the whole, the film doesn’t seem to be making time to dig into the psyche of its characters — why they’re doing what they’re doing, how it changes them — instead just going through the motions of a thriller plot. It feels like it’s had 20 minutes of character stuff cut out that would grease the wheels of the plot. The worst offender is the climax: there’s no weight to the big finale because we’ve been given no time to care about these characters or their relationships with each other.

Ello, L

For all the faults of the way the other version I’ve seen executed Light and L’s chess-like interactions, at least they consistently involved Light using the Death Note and its rules to try to trick L. Here, after the eponymous book and its abilities have been established, it’s basically just used to control other people to make them forward the plot, only returning to its real purpose come the climax. This is another reason the focus on Light and L’s duelling doesn’t work here: at least the original thought they were both geniuses and behaved as thus; each of them was motivated by proving they were cleverer than the other, everything and everyone else be damned. Here, L is still some kind of savant, whereas Light seems a pretty normal teenager, motivated by… well…

So, in the original, Light does his utmost to keep the Death Note secret from everyone to protect his identity as its user. Here, almost as soon as he’s got it he blabs about it to the girl he fancies. Why? Same reason most guys try to show off to girls: because he thinks it’ll impress her. It’s a change of motivation, but okay, why not? But he’s given very little indication that such a thing would impress her. What if she’d been appalled and gone running to the police? She doesn’t, of course, because this is a geek’s fantasy, so she a) loves it, and b) within minutes is shagging him. (Presumably. This may be an 18 for gore, but sexy times are implied by no more than a little light clothing removal. Perhaps they just sat around in their undies while murdering people with their magic book, I dunno.)

Bloodthirsty crush

Believe it or not, Death Note is not a total washout. Indeed, the best things about the film are easily identified. Firstly, there’s Willem Dafoe’s voice performance as Ryuk. If you need a manipulative death-god, he’s a perfect choice. Secondly, the visual realisation of said death-god, a mix of strong CG and keeping him in the shadows. It’s light years more effective than the ’00s movies. On the downside, Ryuk’s role amounts to little more than a glorified cameo: after an initial appearance to explain the rules, he just pops up briefly to remind us he’s still a bother.

Thirdly, then, there’s the death sequences that occur on the first couple of occassions Light uses the Death Note. This film skips the “they just die of a heart attack” phase and goes straight for the “you can dictate how they die” jugular. In this version, that means a Final Destination-a-like chain of random events occur that make the deaths fairly amusing. Also, graphically violent — enough for that 18 in the eyes of the BBFC. These go AWOL again as the film has to get busy with its plot, which is a shame. Basically, someone should’ve tapped Wingard to make Final Destination 6.

Fourthly, and finally, the score is very likeable. It’s full of the ’80s horror movie synths you’d expect from the director of The Guest, though it’s undercut somewhat by a few bizarre song choices, mostly during the climax.

In the dark, no one can see your CGI

Having read a few reactions to the film online, it strikes me that on one hand you’ve got fans criticising it for not being faithful enough, while on the other you’ve got critics picking on it for things that I’d argue are inherent in the source narrative (at least based on what I’ve seen before). That doesn’t excuse this adaptation entirely — they’ve changed so much that fixing logic issues could definitely have happened too — but it’s an amusing juxtaposition of reasons for displeasure: it’s a film scuppered both by being faithful and by not being faithful. Unfortunately that means that, whether you’re comparing it to a previous version or not, it fails to be a coherent experience.

2 out of 5

Death Note is available worldwide on Netflix now.

Death Note: The Last Name (2006)

aka Desu Nôto: the Last name

2017 #112
Shūsuke Kaneko | 135 mins | DVD | 16:9 | Japan / Japanese | 12

Death Note: The Last Name

Picking up immediately after the first movie, this sequel — part two of two — sees Light Yagami (Tatsuya Fujiwara), the owner of a supernatural notebook that allows him to kill anyone simply by writing their name, join the team of detectives searching for him. Although he had supposedly proven his innocence, Light is still the prime suspect of genius detective ‘L’ (Kenichi Matsuyama). Light aims to discover L’s real name and write it in his Death Note. He’s aided by the emergence of a second Death Note, wielded by TV host Misa Amane (Erika Toda), who has a crush on Light and agrees to help him. They’re observed and aided by their respective shinigami (death-gods), Ryuk (Shidô Nakamura) and Rem (Shinnosuke Ikehata) — but can supernatural beings be relied on in the end?

Fundamentally, The Last Name resumes Light and L’s cat-and-mouse game in the same style as the first movie — in case you didn’t get it, near the start of the film their figurative chess game is represented by a literal chess game. This time there are the added complications of Light being on L’s team and the second Death Note being in play, which at least adds some variety. Light continues to manipulate the book’s rules to help prove his innocence and achieve his goals, which is perhaps where the films are at their most inventive — for example, you forget about the Death Note if you lose possession of it, but regain those memories if you touch it again, so what if you could find a way to give it up, prove your innocence conclusively, and get it back later? The endless games and counter-games begin to get a bit tiresome after a while (together the duology pushes four-and-a-half hours), but they do eventually make for quite a surprising climax.

Figurative chess, literal chess

Produced hot on the heels of its predecessor (see my previous review for how ridiculously tight the production schedule was), it’s no wonder that The Last Name feels very much of a piece with the last movie. The major downside of this is L’s alleged genius-level intellect, which was quite ridiculous last time but is now off the charts as he frequently makes entirely unfounded leaps of logic. All of his ‘deductions’ are correct, of course, because the story wants him to be a genius, but he has no reason to be. No other character ever calls him out on it. Even when events would seem to prove him wrong, other characters, who should know better and stop him, let him keep going. He has a starting hypothesis (“Light is Kira”) and, whenever something disproves it, he pulls a reason out of thin air to keep himself being correct. He guesses right every time, but for no good reason. He should’ve been kicked off the case for being loony several times over.

Something else that’s more noticeable in The Last Name is how this series treats its female characters terribly. (Spoilers for the first film follow.) At the end of the first movie, it’s revealed that Light murdered his girlfriend in cold blood and feels absolutely no remorse, but he’s still positioned as the hero. In this film, every woman that turns up loves either him or his Kira alter ego. When they’re not working to help him, they prance around in schoolgirl outfits, or lounge about showing off their legs, or are chained up in revealing rags. They’re all a bit dippy, too, happy to do whatever Light/Kira says just because he’s deigned to interact with them. Conversely, almost all the menfolk are positioned as geniuses. It’s not outright distasteful, but you don’t have to think too hard to find it a bit eye-roll-worthy at the very least.

Me Light you long time

Although The Last Name seems to conclusively end its story, that hasn’t stopped the live-action incarnation of the franchise rolling on: a couple of years later there was a spin-off movie starring L (I have it on DVD and was going to review it this week, but, frankly, I couldn’t stomach anymore of the brat right now), and in 2016 it was revived with a miniseries that led into a fourth movie (no sign of a UK release for either of those, though).

As I said at the end of my review of part one, it seems clear these Death Note films were hampered by their hurried production — greater thought at the writing stage could iron out some of the issues I’ve outlined. Conversely, as it’s adapted from an existing work, it’s equally possible the problems are inherent to the material and more time wouldn’t’ve made any difference. Maybe the imminent US version will have reworked it to positive effect…

3 out of 5

The US remake of Death Note is released on Netflix tomorrow.

Death Note (2006)

aka Desu Nôto

2017 #110
Shūsuke Kaneko | 121 mins | DVD | 16:9 | Japan / Japanese | 12

Death Note

Something of a worldwide phenomenon in the ’00s, Death Note started life as a manga and is perhaps best known for its anime adaptation, but it was also adapted into a series of live-action films, the first of which actually predates the anime.

In case the whole thing passed you by, it’s the story of student Light Yagami (Battle Royale’s Tatsuya Fujiwara) who discovers a supernatural notebook, the titular Death Note, that was dropped by death-god Ryuk (voiced by Shidou Nakamura). Whenever a name is written in the Death Note, that person drops dead. Light begins to use it to execute criminals who’ve escaped justice, a pattern of killings that is quickly noticed by the police and the media, who dub the mysterious murderer “Kira”. While much of the public agree with his actions, the police are stumped in their investigations. Also on the case is a reclusive genius detective known only as ‘L’ (Kenichi Matsuyama), who quickly suspects Light of being Kira, initiating a game of cat and mouse between the pair.

It’s a good setup for a story, a premise that invites moral conundrums and “what would you do?” questions. I can see why it appealed to young people, too — what youth hasn’t wished certain annoying people would just drop dead? (Some places banned the manga because its popularity was leading to kids making their own Death Note books, writing in names of classmates and teachers. Obviously they didn’t actually work, but it was a “psychological health” thing.)

A little Light reading

There’s not much plot in that idea, mind: the Death Note is so all-powerful that there’s little drama in Light using it, especially as he isn’t morally conflicted himself — he’s sure he’s doing the right thing, despite people around him voicing their disagreement with Kira. The story therefore comes to focus on the battle between Light and L, a pair of self-proclaimed geniuses who work to constantly outwit each other. This is where the film begins to falter, because a lot of their supposed intelligence comes from leaps of logic designed to make them look clever.

It’ll also be a problem for any viewers who need a likeable protagonist: although Light starts out aiming to do good, he’s gradually led to be a right evil bastard; on the other side, L is an irritating brat, walking around barefoot, weirdly crouching on chairs, always stuffing his face with sugary treats, and speaking cryptically to the level-headed coppers forced to work with him. I’ve said before that I don’t think a film necessarily needs a likeable hero to work, but it does feel odd that there’s no one to root for here. Partly I don’t think the film’s sure whose side we should be on. It’s made to feel like it should be Light’s, but the film also knows he’s not got the strongest moral compass.

One L of a detective

This “duel of the geniuses” eventually comes to a head in a neatly-conceived climax, but one which doesn’t wrap everything up — the film ends on a very “end of part one” note. Although this film is simply called Death Note and the second was released here as Death Note 2, in Japan they were marketed as a “two-part event” and released just months apart. So I guess the cliffhanger ending is fair enough — it’s not an attempt at launching a franchise (an annoying trend when sequels aren’t produced), but is instead no different than The Matrix sequels, or Kill Bill, or so on.

That said, the production schedule to make that happen is somewhat interesting, especially as it clearly had an influence over the film’s quality. The duology was produced at extraordinary speed. The concept of a two-film adaptation was greenlit in November 2005, Shūsuke Kaneko signed on as director in December, and they were shooting by the start of February 2006. Film 1 was shot in February and March, then came out in the middle of June, just three months later. Film 2 was still being written during Film 1’s post-production, before shooting in June and July, and was released at the start of November, just two months later. There were six assistant directors, including people who’d already graduated to helming their own films, just to handle the volume of work required to fit in the tight schedule — two major movies from script to screen in under 12 months. It’s no wonder the production looks a bit TV-ish at times, with somewhat dull cinematography and Ryuk realised through cheap and cheerful CGI. More vitally, the script or edit probably could’ve done with greater attention, to iron out some of those logic leaps and improve the pace in the middle.

Demonic CGI

The final work still manages to be an enjoyable thriller with a supernatural conceit — a film which definitely has its moments, especially as Light begins to work with the Death Note’s rules to creative effect — but it needed more polish, the legacy of its speedy production resulting in an array of niggles.

3 out of 5

The US remake of Death Note is released on Netflix this Friday.

Review Roundup

In today’s round-up:

  • Money Monster (2016)
  • Transformers: Revenge of the Fallen – Big Screen Edition (2009)
  • Headshot (2016)


    Money Monster
    (2016)

    2017 #36
    Jodie Foster | 95 mins | streaming (HD) | 2.35:1 | USA / English | 15 / R

    Money Monster

    Lee Gates (George Clooney) is the host of a silly financial advice TV show, produced by his mate Patty (Julia Roberts), who one day is taken hostage live on air by a guy (Jack O’Connell) who followed one of Gates’ tips and lost big.

    Director Jodie Foster’s topical thriller takes aim at both Wall Street finagling and satirising media consumption, but has bitten off more than it can chew. Some of its points are on target, they’re just so obvious it barely matters. At least it works quite effectively as a straightforward throwback-style thriller (it’s a bit ’90s), especially on a couple of occasions where it subverts expectations — like getting the hostage taker’s pregnant wife on the phone to talk him down, only she starts laying into him; or when the charming TV host pleads with the public to raise a company’s stock price in order to save his life, but the price goes down. That said, in the grand scheme of the movie these are quite minor niceties — the overall narrative goes exactly where you’d expect it to.

    Perhaps its greatest point comes at the end: the Wall Street guy is exposed as a total villain… and everyone just goes back to their lives. We all know these people do bad shit, but because everyone’s just kind of accepted it (and the people with power to perhaps do something about it are disinclined to attempt it, for $ whatever $ reason $), they’re allowed to just keep on going. You can shout about it all you want and however you want — by making a thriller movie with big-name stars, perhaps — but the best you can hope for is a shrugged “yeah, we know, it sucks”.

    3 out of 5

    Transformers: Revenge of the Fallen
    Big Screen Edition

    (2009)

    Rewatchathon 2017 #19
    Michael Bay | 150 mins | Blu-ray | 2.40:1 + 1.78:1 | USA / English | 12A / PG-13

    Transformers: Revenge of the Fallen IMAX

    “Big Screen Edition”? This is the version of the second Transformers movie that was released theatrically on IMAX, and later made available on Blu-ray exclusively at Walmart in the US. Which is why I’m only watching it now, when I picked up a cheap second-hand copy. As well as including two big sequences at a more IMAX-esque ratio, it’s also extended — by 30 whole seconds!

    30 seconds isn’t much in the first, and even a die-hard fan would struggle to spot them because they’re frames-long additions here and there. The full details can be found here, should you care. The expanded aspect ratio of the the IMAX scenes are more noticeable. I love a changing aspect ratio, and these are effective at adding scale to the two sequences they’re used in — the midway forest battle that (spoilers!) results in Optimus’ temporary death, and part of the climactic battle. On the downside, two action scenes in a two-and-a-half-hour movie isn’t very much, really.

    As for the film itself, I don’t know if I enjoyed it more than the first time, because I gave it quite a kind review then, but I kind of liked it (enough) for what it is — a big, dumb spectacle. It’s still too long, poorly written (in part a victim of the writers’ strike), and has all kinds of awkward and uncomfortable bits. It’s not a good film, but it is a decent(-ish) movie.

    3 out of 5

    Headshot
    (2016)

    2017 #92
    Kimo Stamboel & Timo Tjahjanto | 118 mins | Blu-ray | 2.40:1 | Indonesia / Indonesian & English | 18

    Headshot

    The Raid’s Iko Uwais stars in this actioner as Ishmael, a man who washes ashore with amnesia thanks to a bullet wound in his head — so far, so Bourne. Bad people are out to get him, of course, and when they kidnap the kindly doctor who nursed him back to health (Chelsea Islan), Ishmael goes on a violent rampage to save her and uncover his past.

    Beginning with a focus on the sweet kind-of-love-story between Ishmael and the doctor, Headshot has a slightly different feel to your usual beat-em-up-athon at first, almost like an indie romance drama. That changes pretty sharpish, of course, and we’re thrown into an array of highly choreographed punch-ups. It’s pretty entertaining as that, with some inventive bits here and there, but nothing to challenge the pair of films Uwais is best known for.

    Put it this way: I enjoyed it while it was on, but I sold the Blu-ray on eBay the next day.

    3 out of 5

  • The Fugitive (1993)

    The 100 Films Guide to…

    A murdered wife.
    A one-armed man.
    An obsessed detective.
    The chase begins.

    Country: USA
    Language: English
    Runtime: 130 minutes
    BBFC: 12 (cinema, 1993) | 15 (video, 1994)
    MPAA: PG-13

    Original Release: 6th August 1993 (USA)
    UK Release: 24th September 1993
    Budget: $44 million
    Worldwide Gross: $368.9 million

    Stars
    Harrison Ford (Witness, Air Force One)
    Tommy Lee Jones (JFK, No Country for Old Men)
    Sela Ward (54, Independence Day: Resurgence)
    Joe Pantoliano (Risky Business, The Matrix)

    Director
    Andrew Davis (Under Siege, Holes)

    Screenwriters
    Jeb Stuart (Die Hard, Fire Down Below)
    David Twohy (Waterworld, Pitch Black)

    Story by
    David Twohy (G.I. Jane, Riddick)

    Based on
    The Fugitive, a TV series created by Roy Huggins.


    The Story
    After Dr. Richard Kimble’s wife is murdered, he is framed for the crime. Managing to escape custody, Kimble sets out to prove his innocence, while being pursued by a team of marshals intent on recapturing the fugitive.

    Our Hero
    Dr. Richard Kimble, respected surgeon, convicted of killing his wife, a crime he didn’t commit. When an accident on his way to prison allows me to break free, he goes on the run to clear his name.

    Our Villain
    The mysterious one-armed man who did kill Mrs Kimble. Why did he do it? Why can’t he be found?

    Best Supporting Character
    U.S. Marshal Samuel Gerard is the big dog on Kimble’s trail after he escapes custody. He just aims to bring the doctor back in, but maybe his sense of justice will ultimately prevail…

    Memorable Quote
    Kimble: “I didn’t kill my wife!”
    Gerard: “I don’t care!”

    Memorable Scene
    Kimble runs through drainage tunnels, pursued by Gerard, when he suddenly reaches the outlet — a massive drop over a dam. Gerard approaches, gun raised, his man cornered, Kimble left with no escape route — except to jump…

    Truly Special Effect
    The famous bus/train crash was done for real with a real train and a real bus on a real track, because that was actually cheaper than doing it with miniatures! The scale of the setup meant it could only be done once, so it was shot with multiple cameras — several of which were destroyed and their footage rendered unusable. Conversely, a couple of others were caught up in the crash but continued rolling. Although it may’ve been driven by cost-saving, the fact it was done for real makes it all the more effective, one of cinema’s iconic stunts.

    Letting the Side Down
    Despite years in development that created literally dozens of drafts, filming began without a completed screenplay — and sometimes it shows. Just don’t try to think through the logic of the villains’ nefarious scheme, nor wonder why the supposedly super-smart marshals never twig that may Kimble is investigating his wife’s murder.

    Making of
    The sequence in the St Patrick’s Day parade was conceived by director Andrew Davis late in the day — so late that it wasn’t part of the shooting schedule and there wasn’t time to plan it. On the day, the cast and crew made an early start so they could complete all of the schedule material before heading over to the parade. Shooting with a Steadicam, the director, cast, and cameraman improvised the action and shot it more-or-less in real-time.

    Next time…
    Five years later, Tommy Lee Jones reprised his Oscar-winning supporting performance as the lead in U.S. Marshals. It wasn’t as successful. Personally, I didn’t realise it was a sequel for years and have never bothered to see it.

    Awards
    1 Oscar (Supporting Actor (Tommy Lee Jones))
    6 Oscar nominations (Picture, Cinematography, Sound, Editing, Sound Effects Editing, Score)
    1 BAFTA (Sound)
    3 BAFTA nominations (Supporting Actor (Tommy Lee Jones), Editing, Special Effects)
    2 MTV Movie Awards (On-Screen Duo (Harrison Ford & Tommy Lee Jones), Action Sequence (train wreck))
    2 MTV Movie Award nominations (Movie, Male Performance (Harrison Ford))

    Verdict

    It must be at least 20 years since I last watched The Fugitive (it turns 25 next year), and it’s an interesting experience to revisit it today. Once upon a time this was a blockbuster; nowadays it’d be a mid-budget thriller… and probably wouldn’t get made because Hollywood doesn’t do those anymore. It’s a pleasingly ’90s manhunt movie — they can’t just track his mobile phone or zoom in with a satellite or what have you — but, aside from the nostalgia kick, the quality is a bit wobbly at times. It has strong performances, a breakneck pace (at least early on), and some stunning sequences, but the behind-the-scenes story of many, many drafts and a rushed schedule occasionally leave their mark on the screen, mainly in that the film’s whodunnit mystery isn’t all that engrossing or surprising. Maybe I’m just being nitpicky — it’s still a quality thriller. (The Blu-ray is a real dog, though. Could definitely do with a remaster.)

    Arrival (2016)

    2016 #179
    Denis Villeneuve | 116 mins | cinema | 2.35:1 | USA / English & Heptapod | 12A / PG-13

    This review sort of contains spoilers.

    Arrival

    An intelligent sci-fi movie released by a major studio?* What madness is this? A good kind of madness, because Arrival is one of the best — and, importantly, most humane — science fiction movies for years.

    For one thing, it takes an unusual, but completely pragmatic, approach to alien first contact: how would we communicate with them? Most sci-fi movies gloss over this — either we don’t because they’re just killing us, or the aliens are sufficiently advanced that they already speak our language. Here, however, the focus is on Amy Adams’ linguist. The problem is approached as it would be in real life — the production sought advice from real linguists, and the only tech used is stuff we have access to today. Far removed from the usual glossy high-tech sheen of most sci-fi movies, the most important pieces of kit here are things like whiteboards and scissor lifts. It’s very mundane, and that’s the point — it’s grounded in a world we know. Apart from the aliens, of course. But while the process Adams’ character undertakes may be factual, as she begins to work on the aliens’ language its unique properties begin to have a surprising effect on her…

    At the risk of sounding like one of those people who boasts about guessing a twist, I did develop a fair idea of where the film was going. (Not completely — at one point (massive pseudo-spoiler here) I thought it might be that Jeremy Renner’s character was the future-father of Adams’ past-child, in some wibbly-wobbly timey-wimey all-things-happen-at-once way that I was curious how they’d explain.) But whether you work it out in advance or not doesn’t matter, because Arrival is not a middling M. Night Shyamalan film, dependent on its twist. That it’s a revelation to the characters is enough. The emotional journey they go on is what’s more significant, and Arrival is a powerfully emotional movie. This is all carried by Amy Adams in a subtle, understated performance; one that quite possibly deserved to win the Oscar but, bafflingly, wasn’t even nominated.

    We're only human after all

    Despite the high-concept setup, Arrival is really a character-driven emotional drama that just happens to be about first contact with aliens. Because of that, it’s not a Sci-Fi Movie in the sense that it needs to explain why the aliens are here — despite what some commenters on the (now defunct) IMDb message boards (and similar places) seemed to think. If you’ve seen the film and are thinking “but it does explain why they’re here?”, you’re right, but apparently we need to know more specifics, otherwise the film hasn’t achieved its “stated objectives”. Yes, I agree, people who say that are talking utter bollocks.

    Part of what makes Arrival so good is the way it does work on multiple levels. Despite what I just said, you can enjoy it as a pure science fiction movie, about both the logistics of first contact and some big theoretical ideas that I won’t mention because of spoilers. A lot of effort was put into the concepts underpinning the film, both the scientific theories and the functions of linguistics (the Heptapod language was developed for real; the software used to translate it is a functioning program), so it’s got a dedication to detail that rewards those interested in that aspect. It’s also, again as I said, an emotional drama; effectively a dramatisation of Tennyson’s famous adage “better to have loved and lost than never to have loved at all” though a unique lens. The author of the original story, Ted Chiang, started from more or less that place and then found a sci-fi concept he could use to explore it.

    I think I'm turning Heptapod, I really think so

    In addition to both of those, it’s also got a timely message about the state of humanity and global politics. This factor is even more pertinent now than when the film came out almost a year ago, mainly thanks to Trump. Just look at the recent willy-waggling between the US’s President You’ve-Been-Tango’d and North Korea’s Supreme Leader It’s-My-Party-And-I’ll-Blow-You-All-Up-If-I-Want-To — it’s the very stupidity that Arrival is warning against. In the film, some soldiers who watch too much nutty television and swivel-eyed internet rants almost fuck things up, while level-headed scientists and experts save the day. If only we could take some of the morons in power these days, and the even-worse people who voted for them, and strap them to a chair in front of this movie until they got the point…

    While its greatest power lies in these analogies and emotional beats, it’s also a beautifully made film. Bradford Young’s photography is a little on the gloomy side at times, but it creates a clear mood — director Denis Villeneuve refers to it as “dirty sci-fi”, by which he means “the feeling that this was happening on a bad Tuesday morning”. It’s a pretty accurate description. That doesn’t preclude the film from generating some fabulous imagery, however. The sequence when they first arrive at the spacecraft by helicopter — which follows the choppers over amassed civilians queuing to see the ship, then transitions to a long oner that flies over the makeshift army base towards the giant, unusual alien craft, as clouds roll in over the hills, before continuing on down to the landing site — is majestic, and indicative of the entire film’s attitude to pace. It’s measured, not slow, and all the more effective and awe-inspiring because of it. That’s emphasised by Jóhann Jóhannsson atmospheric score, which almost lurks in the background, his work supplemented by Max Richter’s On the Nature of Daylight during the emotional bookends. (The latter is such an important piece to the soundtrack’s effect that Jóhannsson’s work was deemed ineligible for nomination at the Oscars, which is a shame but I can kind of see their point.)

    Majestic

    Arrival is a multifaceted film, which works well as both a sci-fi mystery and a reflection of current sociopolitical quandaries, but has its greatest power in the very human story that lies at its heart. The mystery and the twist are almost a distraction from this, actually — I watched the film again last night before finishing this review and enjoyed it even more than the first time. That it’s a movie best appreciated when you can see it in totality, watching it with an awareness of how it will end from when it begins, is only appropriate.

    5 out of 5

    Arrival is available on Amazon Prime Video UK from today.

    It placed 6th on my list of The 20 Best Films I Saw For the First Time in 2016, which can be read in full here, and also featured on my list of favourite movies from the past decade, which you can read about here.

    * Only in the US, mind, which presumably means they just bought it after someone else made it, so let’s not give them too much credit. ^

    Shin Godzilla (2016)

    aka Shin Gojira / Godzilla Resurgence

    2017 #108
    Hideaki Anno | 120 mins | Blu-ray | 2.35:1 | Japan / Japanese, English & German | 12A

    Shin Godzilla

    To the best of my knowledge, the Godzilla movies have never been particularly well treated in the UK. With the obvious exceptions of the two US studio movies and the revered 1954 original (which, similar to its inclusion in the Criterion Collection in the US, has been released by the BFI over here), I think the only Godzilla movie to make it to UK DVD is King Kong vs. Godzilla, and that’s clearly thanks to the Kong connection. Contrast that with the US, or Australia, or Germany, or I expect others, where numerous individual and box set releases exist, not only on DVD but also Blu-ray. There were some put out on VHS back in the ’90s (I owned one, though I can’t remember which), but other than that… Well, maybe we’ll be lucky and the tide will now change, because the most recent Japanese Godzilla movie — the first produced by the monster’s homeland in over a decade — is getting a one-night release in UK cinemas this evening. It’s well worth checking out.

    Firstly, don’t worry about it being the 29th Japanese Godzilla film, because it’s also the first full reboot in the series’ 62-year history (previous reboots in 1984 and 1999 still took the ’54 original as canon). The movie opens with some kind of natural disaster taking place in Tokyo Bay, to which the Japanese government struggle to formulate a response. But it quickly becomes clear the event is actually caused by a giant creature, which then moves on to land, leaving a trail of destruction in its wake. Ambitious government secretary Rando Yaguchi (Hiroki Hasegawa) is put in charge of a special task force to research the creature. Soon, the Americans are muscling in, contributing a dossier they’d previously covered up, which gives the creature its name: Dave.

    Alright Dave?

    No, it’s Godzilla, obv.

    Written and directed by Hideaki Anno of Neon Genesis Evangelion fame (and fans of that franchise will recognise many music cues throughout the film), Shin Godzilla is not just a film about a giant beastie stomping on things. Most obviously, it pitches itself as a kind of political thriller, as an intrepid gang of semi-outsiders battle establishment red tape to get anything done. In this respect it’s something of a satire, though not an overtly comedic one. It also seems to be taking on Japanese society, with the in-built deference to age or rank being an obstacle to problem-solving when it’s the young who have the outside-the-box ideas to tackle such an unforeseen occurrence. There’s also the problem of the Americans sticking their oar in, being both a help and a hindrance. Clearly the Japanese feel broadly the same way towards the U.S. of A. as do… well, all the rest of us.

    Anno takes a montage-driven, almost portmanteau approach to the storytelling, flitting about to different locations, organisations, departments, and characters as they come into play. This lends a veracity to the “as if it happened for real” feel of the film: rather than take the usual movie route of having a handful of characters represent would would be the roles of many people in real life, Anno just throws dozens of people at us — the film has 328 credited actors, in fact. It means there’s something of an information overload when watching it as a non-Japanese-speaker: as well as the subtitled dialogue, there are constant surtitles describing locations, names, job titles, types of tech being deployed, etc, etc. In the end I wound up having to ignore them, which is a shame because I think there was some worthwhile stuff slipped in there (possibly including more satire about people’s promotions throughout the film).

    We can defeat Godzilla with maths!

    I’d be amazed if anyone can follow both, to be honest, because the dialogue flies at a rate of knots. Anno reportedly instructed the actors to speak faster than normal, aiming for their performances to resemble how actual politicians and bureaucrats speak. Apparently he cited The Social Network as the kind of vibe he was after, though a more appropriate comparison might be that other famous work from the same screenwriter, The West Wing. Either way, I think he achieved his goal, further contributing to the film’s “real” feel and the (geo)political thriller atmosphere — even if it’s a nightmare to follow in subtitled form.

    Letting the side down, sadly, is actress Satomi Ishihara, who plays an American diplomat of Japanese descent. Apparently she found out she was playing an American after being cast, and was shocked to see how much English dialogue she had to speak. It shows. There’s nothing wrong with her performance on the whole, but casting a Japanese actress as a supposed American is a really obvious mistake to English-speaking ears. All of the English speech in the film is subtitled, which isn’t necessary for American generals and the like, but for her… well, I didn’t always realise she was no longer speaking Japanese. Poor lass, it’s not her fault, but it does take you out of the film occasionally.

    On another level from the politics, Shin Godzilla is also about wider issues of humanity and the planet. The ’54 film was famously an analogy about nuclear weapons, and Anno updates that theme to be about nuclear waste and its effect on the environment, inevitably calling to mind the 2011 earthquake and tsunami that led to the Fukushima power plant disaster. This is less front-and-centre than the thriller stuff — the actions of the humans are what drives the film’s plot, whereas the nuclear/environmental stuff is more thematic subtext. Put another way, I wouldn’t say the film gets too bogged down by this — it’s still about a giant monster blowing shit up with his laser breath.

    Either that or the purple goo he ate earlier really disagreed with him

    Said giant monster is realised in CGI, some of it derived from motion capture, presumably as a tribute and/or reference to the old man-in-a-suit way of creating him. This is not a Hollywood budgeted movie and consequently anyone after slavishly photo-real CGI will be disappointed, but that’s not really the point. It still creates mightily effective imagery, and for every shot that’s less than ideal there’s another that gives the titular creature impressive heft and scale. He’s also the largest Godzilla there’s ever been, incidentally.

    If you come to Shin Godzilla expecting to see a skyscraper-sized monster destroy stuff and be shot at and whatnot for two hours straight, you’re going to leave dissatisfied. There are scenes of that, to be sure, but it’s not the whole movie. If a thriller about a bunch of tech guys and gals fighting bureaucracy while analysing data that will eventually lead to a way to effectively shoot (and whatnot) the monster, this is the film for you. It was for me. I have to mark it down for some of the niggles I’ve mentioned, but I enjoyed it immensely. (You can make you own size-of-Godzilla pun there.)

    4 out of 5

    Shin Godzilla is in UK cinemas tonight only. For a list of screenings, visit shingodzillamovie.co.uk.