Ocean’s Eight (2018)

2019 #23
Gary Ross | 110 mins | download (HD) | 2.39:1 | USA / English, German, French & Hindi | 12 / PG-13

Ocean's Eight

This somewhat belated spin-off from the Ocean’s trilogy of all-star heist movies (it came eleven years after the last one) introduces us to Debbie Ocean (Sandra Bullock), the sister of George Clooney’s eponymous character from the trilogy, and also an experienced con artist. Recently released from prison, she sets about assembling a crew for an audacious heist: to lift a near-priceless necklace during the prestigious Met Gala.

Said crew is all female — well, the crews in the previous trilogy were almost exclusively male, so why not? And just as those casts were full of big-name stars, so too is this. If Bullock’s in the Clooney role then Cate Blanchett takes over the part of Brad Pitt: the cool, in-control ‘sidekick’ who really makes Ocean’s grand plan happen. Fortunately, the film doesn’t slavishly map everyone else onto roles from the previous movies. One of the key parts is a fashion designer, played by Helena Bonham Carter — not a job that’s normally required for a heist, I don’t think. Here, it’s their way to access the mark who’ll be wearing the necklace, played by Anne Hathaway. The rest of the titular crew is rounded out by names of varying degrees of famousness, depending on your exposure to their previous work: Rihanna, Sarah Paulson, Mindy Kaling, and Awkwafina.

As a gang, they’re quite likeable, fun to hang around with, and the cast seem to be having a good time. They’re somewhat hampered by a screenplay that rarely gives them the sparky material the previous bunch had to work with, though, so I’d suggest if there’s a Nine they get someone to punch up the dialogue and give this lot the text they deserve.

One, two, three, four, five, six, seven... yep, eight. There's eight of them.

Having said it doesn’t wholly map onto the previous movies, Eight massively lifts one plot thread from Eleven, which is that Debbie’s plan is secretly a way to get back at an ex boyfriend (Richard Armitage). Okay, in Eleven Danny Ocean is trying to win back his old lover and/or punish her new boyfriend, whereas here those characters are kinda combined as Debbie Ocean is trying to punish her old lover, but, well, the basic conceit is the same, right? The film does nothing to acknowledge that fact, just leaving it hanging there — awkwardly, if you’re au fait with the first movie. Conversely, whereas Danny was obsessed with his revenge to the point it risked derailing the main heist, for Debbie it seems to be a side benefit.

That isn’t necessarily better, mind: it lowers the stakes of both the subplot (because she doesn’t seem that bothered) and the main plot (because she’s not in danger of getting sidetracked), so why include something so familiar? Indeed, the whole plot is relatively light on stakes, with the team carrying off everything with nary a hitch — barely any need to improvise or change the plan here, they’ve just got it covered. The one potential problem that does arrive is solved instantly, even before the heist begins, with such a straightforward fix that they don’t even need to modify the plan to incorporate it. It’s not even fake jeopardy, it’s just non-jeopardy.

The whole film veers dangerously close to blandness in this fashion. Director Gary Ross may be a friend and colleague of Steven Soderbergh, but he doesn’t seem to have picked up the trilogy director’s inventiveness. There’s some mildly flashy editing scattered about, and maybe one creative shot / bit of sound design (when the camera follows the necklace underwater, the non-diegetic music gets muffled like, you know, we’re underwater), but it lacks the sophistication and verve Soderbergh brings. It feels like it needs a kick up the arse, basically.

“Could you just give it a bit of a kick up the arse?”

I even began to worry it was going to end with no attempt at genuine twists or surprises whatsoever, aside from a few minor but not terribly exciting reveals, which is not good for a heist movie — part of the point, surely, is that they also pull off a kind of narrative heist on the viewer. Fortunately, Eight does have a trick up its sleeve, which is quite fun. But even then, the big plan is still a pretty simple heist, which the film tries to pretend is complicated by showing Heist 101 stuff in excruciating detail (there’s a whole scene devoted to Rihanna slightly changing the position of two security cameras, one… click… at… a… time…)

Yet for these faults, Eight still works as breezy entertainment. It’s not as perfectly slick and polished as Eleven — but then, that would’ve been asking a lot (as pure-entertainment capers go, Eleven is virtually flawless). It’s not as boundary-pushing as Twelve (a seemingly muddled film that gets interesting the more you think/read about it), but nor is it as aimless and derivative as I found Thirteen. It lacks the creative spark behind the scenes (either in the screenplay or directing departments) that could’ve elevated it, but it’s an easy way to spend a diverting couple of hours.

3 out of 5

Ocean’s Eight is available on Sky Cinema from today.

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Gravity (2013)

2014 #13
Alfonso Cuarón | 91 mins | Blu-ray | 2.40:1 | USA & UK / English | 12 / PG-13

Oscar statue2014 Academy Awards
10 nominations — 7 wins

Winner: Best Director, Best Cinematography, Best Film Editing, Best Original Score, Best Sound Editing, Best Sound Mixing, Best Visual Effects.
Nominated: Best Picture, Best Actress, Best Production Design.

GravityOn its theatrical release, a commonly-cited recommendation was to see Gravity in 3D on the biggest screen possible. Obviously, I didn’t bother. Some say it isn’t as effective on a small screen in 2D. Maybe it isn’t as effective, but it’s still a damn fine film.

A near-future thriller (albeit one set in space), the destruction of a satellite sees a cloud of debris hurtling round the Earth, in the process destroying the space shuttle of Sandra Bullock, George Clooney, and other less-fortunate crewmembers. Using Clooney’s experimental space-jetpack, the survivors set off across the void for the nearest space station, racing against their oxygen supply to find a way home…

As many have noted, Gravity is a little light on plot. That’s a dealbreaker for some, it would seem, which I think rather misses the point. This is a survival story, predicated on two things: one, the desperate attempts of our heroine to triumph against increasingly-poor odds; and two, the spectacle of weightlessness and space. Not every movie needs a complex storyline to keep it going; not every film needs to only be about its plot. As co-writer and director, Alfonso Cuarón drives the film admirably on the aforementioned survival attempts and some swiftly-sketched character development.

The spectacle may have worked best on the big screen in 3D, but Cuarón’s talent as a director means it translates at home, too. That most of the film was created in computers means his penchant for long takes is indulged, but the impact of those is paramount: rather than fast-cut action sequences (even if the speed of cutting has been pushed to extremes in recent years, He said DON'T let goquick editing has always been a way of creating excitement in that arena), the never-ending shots serve to make you feel closer to events, right alongside Bullock, almost wishing it would stop. Plus there’s skill in being able to show us what we need to see from a single vantage point, without the easy option of being able to cut to a different angle to clarify a detail.

Left to carry much of the film solo, Bullock’s performance is strong enough, but this isn’t a deeply-drawn character. There’s something to her, and the situation she’s been put in is trial enough without the need for backstory, but is it really a performance that cries out for awards recognition? Not as much as the rest of the film.

Speaking of which, controversy has occasionally dogged Gravity — on two fronts. Firstly, that BAFTA awarded it Best British Film. Cue varying degrees of outrage and incredulity that an American-funded film about American astronauts could be considered British. The flipside to this is that Cuarón has made Britain his adopted home; and while the Big Studio may ultimately be American, the production company and producers are British. It was shot in Britain by a British crew, and the groundbreaking CGI — which even James Cameron, he of great determination and resultant innovation, said couldn’t be done — was created in Britain by British artists. Made in BritainThe most high-profile jobs — the actors, the studio — may be American, but everything else is pretty darn British. Rather than cry “that’s ridiculous! Give it to a proper British film!”, we should be keen to point out that, actually, this surprise global mega-hit wasn’t made in America, but in Britain, by all the talented filmmakers we have here. Rule Britannia, etc etc!

Secondly, there’s the genre issue. Most have labelled the film “science fiction”, primarily because it’s set in space. The hardcore SF brigade take umbrage with that, however: technically it’s set almost-now, with present-day technology. This is a story that Could Happen Today, not a distant dream of what Might Happen Tomorrow. Really, it’s a bit of a mixed bag: technically it is set in the future — that’s proven by little things like flight numbers and the existence of a finished space station that, in real life, is still being built — and makes use of technology that doesn’t actually exist (the space-jetpack I mentioned earlier), plus it depicts a massive-scale disaster that, obviously, hasn’t happened. But that’s no worse than many an earthbound thriller, which routinely use just-beyond-possible tech (look at all of Bond’s gadgets, even (at times) in the newly-grounded Craig films) and depict huge events that haven’t actually occurred (Presidential assassinations, nuclear detonations, etc). So, really, Gravity is no more sci-fi than those, except for it being set in space… which immediately categorises it as SF to your average viewer.

Space jetpackWhile I sympathise with the idea that it’s not A Science Fiction Movie, but instead A Thriller (That Happens To Be Set In Space), you can’t really deny its SF-ness. OK, if we’re classing this as SF then so too should be films like The Sum of All Fears, or most of the James Bond canon; but really that’s just an argument over technicalities — one I’ve indulged for far too long.

The point is, however you classify it, Gravity is an exciting, spectacular, technically-impressive movie; one that overcomes the alleged need for a huge screen and 3D to work even in the corner of your living room.

5 out of 5

Gravity debuts on Sky Movies Premiere today at 4:30pm and 8pm.

It placed 1st on my list of The Ten Best Films I Saw For the First Time in 2014, which can be read in full here.