The Bourne Legacy

There is a funny little scene at the beginning of The Bourne Legacy. A top secret CIA team headed by ominous shadow man Eric Byer (Edward Norton) is gathered around a table looking over some agent profiles, when one member suddenly comes across Jason Bourne’s file, much to Byer’s annoyance. “You must be in the wrong meeting” deadpans Byer, before moving onto a different set of case studies.

That’s one giant hint Tony Gilroy is dropping in the audience’ lap. It’s almost as if the Bourne trilogy’s screenwriter is telling us to move on from what’s come before and embrace this new reality that runs parallel to the events of Paul Greengrass’ Ultimatum, making this effectively a “sidequel”, rather than a reboot or a spin-off. Out goes Matt Damon’s amnesiac rogue agent and in comes Aaron Cross (Jeremy Renner), a diminutive superspy powered by a set of blue and green pills.

Aside from the switch in leading men, the tone and style remain the same. Globetrotting still plays a big part (although this time the action steers well clear of our familiar European shores), improbable chases take place in believable scenarios and the plot is peppered with shaky-cam close-ups of men in suits talking tactics in rooms full of monitors. Even Moby’s Extreme Ways clocks in at the end credits mark.

And yet somehow, The Bourne Legacy doesn’t really live up to its pedigree. It’s not so much a disappointing film, but a curiously ineffective one.

Part of the reason could be down to new spy on the block, Aaron Cross. While Jeremy Renner may arguably be a more gifted actor than Matt Damon, he is definitely a less charismatic one. It sure doesn’t help that Cross is virtually the same character Renner’s already played in Mission Impossible 4 and The Avengers – both released in the past 12 months – not to mention that his fixation with getting his hands on a bunch of pills will alienate anyone who isn’t a) a junkie or b) a protein-popping fitness freak.

The other con is Gilroy’s direction. Michael Clayton may have been a hit with the critics, but here the erstwhile screenwriter seems to have adopted all of Greengrass’ tips and tricks to cover up his insecurity as an action filmmaker. The end result lacks of originality. And while we’re at it, he could have given Norton something more to do, other than stand around in what is a forgettable bureaucratic role.

Having said that, Legacy does boast a couple of action sequences that are on par with the very best the original trilogy had to offer – one particular scene, in which Aaron Cross runs to the rescue of Rachel Weisz’s perennially distressed scientist in an isolated mansion, is loaded with the same suspense and kinetic energy so often conjured in the previous films.

But as of now however, this franchise is hardly Bourne again.

2/5 

Ted

“No matter how big a splash you make in this world whether you’re Corey Feldman, Frankie Muniz, Justin Bieber or a talking teddy bear, eventually, nobody gives a shit”, intones British thespian Patrick Stewart in Ted’s opening minutes. Promisingly, it is the first of many brilliant lines that Seth MacFarlane’s feature debut will have you quoting long after the end credits roll.

Despite boasting the polarizing humour found in Family Guy and American Dad, the film’s premise is nothing short of magical and heart-warming. Car salesman John Bennett (Mark Wahlberg) used to be such an unpopular outcast, even the kid who’d get beaten up by the local bullies wouldn’t socialise with him. But one Christmas, proving there is nothing more powerful than a young boy’s wish (except an Apache Helicopter with machine guns and missiles), Johnny miraculously brings his teddy bear to life and the two become the best of friends.

Fast forward to the present and John is still hanging out with Ted (voiced by Macfarlane), except the once sweet and innocent soft toy has over the years become a foul-mouthed, pot-smoking slacker, much to the indignation of John’s girlfriend, Lori (Mila Kunis). She believes it’s time John matured a bit and got his act together. John on the other hand, loves hanging out with his buddy too much to let go…

Sound like a familiar scenario? Many male viewers will relate to the whole “girlfriend or best friend?” conundrum, and it is to MacFarlane’s credit that his comedy finds the time to focus on the themes of commitment and growing up. Although it must be said that, as exemplified by his flagship TV series, there is little to disguise the fact that MacFarlane is more at home with conjuring killer quips and outlandish scenarios, rather than sticking to a solid narrative structure. But while this would be a fatal flaw in a lesser comedy, the Family Guy creator makes it work to his advantage.

The seemingly endless gag rate will appease those who were worried the trailer had revealed all the best bits (highpoints include hilarious cameos, the most surreal house party ever and a hotel room scrap that would have Matt Damon and Paul Greengrass in a standing ovation) and the actors delivering the lines are all on top form – Mark Walhberg’s rapid fire list of white trash names is particularly impressive.

But as it is to be expected, it is the titular teddy bear that will stick in mind the most. It may be the shock and novelty of hearing an adorable-looking critter spout such a colorful (read: potentially offensive depending on your gender/religion/fanboy allegiances) repertoire of insults, but Ted is simply the funniest character of the year, hands down. By the end of the film you won’t know whether you’ll want to boycott, cuddle or share a beer with him. Chances are you’ll want to do all three.    

4/5      

The Dark Knight Rises

Following up one of the most critically and commercially successful sequels of all time is no mean feat. The Dark Knight remains a crime drama with scale and pathos to spare, and holds the distinctive merit of being the first super-hero flick for adults that scored just as big at the Academy Awards as it did at the box office. The inevitable consequence is that Nolan has now set expectations so high for The Dark Knight Rises, that they are unlikely to be matched.

This is a shame, because while TDKR admittedly never lives up to its Oscar-baiting predecessor, it is certainly not due to a lack of commitment or ambition from its talented director. In fact, it may be one of the best threequels ever made.

Setting the plot eight years after Batman’s last appearance is a narrative stroke of genius. We now see a greying, frailer Bruce Wayne (Christian Bale) who spends his days as a creepy recluse (and thus making similarities to Frank Miller’s highly acclaimed The Dark Knight Returns all the more pleasing). This is no longer a masked vigilante battling thugs and psychopaths – the biggest struggle is against his forced retirement. This is just one of Nolan’s many neat touches that have managed to ground Batman in reality and made him an infinitely more relatable (and commercially reliable) character than Superman or Green Lantern.

But then again, people are not paying to see a three hour film of Bats sorting out his pension fund. So it’s not long before he is called into action by the film’s ‘big bads’: the slinky cat burglar Selina Kyle (Anne Hathaway), and the colossal masked terrorist known as Bane (Tom Hardy). Hathaway, whose look has been subjected to online abuse for a distinct lack of feline features, manages to shut all the fanboys up with a disarming performance that is true to the character from the comics and – in true Catwoman style – shamelessly steals the first half of the movie.

Bane is the tougher assignment. Tom Hardy definitely has the required presence and hulking physique to pull off the role, but his job is made harder by having to act behind a mask that covers most of his face, and is marred by a voice that makes him sound like a Jamaican Sean Connery with asthma issues. However, his brutal role in Batman’s undoing – and those familiar with the Knightfall storyline from the comics know exactly what’s coming – make him a villain who is much easier to boo and hiss at than the Joker or Two-Face.

But characters are only as good as the context into which they are inserted, and it is quite admirable how far Nolan has always been willing to push them, especially his protagonist. Not many summer blockbusters get to tread such pitch black waters, especially when so many parallels with real world issues are drawn in the process – terrorism, economic inequality and the ‘occupy movement’ being firmly referenced.

Which makes the idea of a masked superhero swooping in to rectify these wrongs and save the day all the more relishing, if you think about it. Nolan has confirmed this will be the last we’ll see of his grounded, quasi-realistic Batman, and his contribution to the comic book movie genre is indelible. Good luck with the reboot, Warner Bros.

4/5

The Amazing Spiderman

Let’s get one thing out of the way, right off the bat: the decision to reboot Spiderman merely 5 years after he last swung into the sunset is no doubt off-putting. That much everyone knows – just look up all the slander and death threats posted on the internet over the past months. There’s still a lot of love out there for Sam Raimi’s trilogy, which makes this new Spidey’s chances of scoring with worldwide audiences much harder.

But here’s the kicker: you may hate what The Amazing Spiderman represents (i.e. shameless cash-in) and yes, the first half does stick a little too close to what we saw on screen ten years ago, but cast aside your cynicism for a couple of hours and you’ll find there is a lot to love about the film.

Like what, you ask? Well for starters, it is a remarkably faithful adaptation that sticks to the tone and original setting of the comic books. Midtown High, Gwen Stacy, mechanical web shooters, a beloved villain from the classic rogues’ gallery… hardcore fans will find their boxes have all been firmly ticked.

More importantly, mainstream audiences will be pleased to see that, despite a complete cast and director reshuffle, Spiderman has lost none of the heart and charm that have always made him arguably the most beloved superhero on the planet. Marc Webb was offered the gig based on the complex emotional themes on display in (500) Days of Summer and he successfully manages to transfer the rom-com’s best qualities over to his first blockbuster. The scenes in which Peter awkwardly tries to ask Gwen out or when he first meets her authoritarian father (a scenario many teenage boys will identify with) are likely to resonate more than the ones in which he gets pounded by a giant lizard. Moreover, the scenes between a bruised Peter and his protective aunt May carry an emotional heft that you’d expect from an indie domestic drama, not a superhero blockbuster.

The Amazing Spiderman is also impeccably well cast. Martin Sheen is Uncle Ben, Dennis Leary brings the laughs as the gruff Capt. Stacy, while Emma Stone is endearing as the high school sweetheart who may well be (whisper it!) a better fit for our hero than Mary Jane. Rhys Ifans as a fundamentally good man trapped in a game of Jekyll vs Hyde is an alluring proposition, even though his reptilian alter ego is occasionally marred by half-baked CGI – but at least he’ll go down in comic book folklore as the first Welsh super villain.

And what of the star of the show? Recasting a role that many feel belongs to Tobey Maguire was always going to be a tough gig but the truth is Andrew Garfield makes a brilliant Peter Parker/Spiderman. He looks like the character from the comic books (no matter how impressive Maguire’s sculpted pecs were, Spidey was always meant to be slender), nails his wisecracks (“You’ve found my weakness… it’s small knives!!” is the kind of humour that was woefully absent from previous films) and excels during the film’s more emotional scenes.

So, the inevitable question: is it better than Raimi’s trilogy? The best answer would be “it’s different”, but if you’re really after a comparison, let’s just say it betters the now outdated 2002 version, is way better than the over bloated third installment and has all the potential for delivering a sequel as triumphant as Spiderman 2. Check out that final swing through the New York skyline in glorious 3D and try not to feel your hairs stand at the prospect of seeing Spidey again in two years’ time.   

4/5  

Chronicle

Spiderman may bang on about how with great power comes great responsibility, but Chronicle offers a far more believable portrayal of teenagers gifted with supernatural abilities. After all, why fight crime when you can use telekinesis to play pranks and chuck footballs whilst suspended in the sky? Josh Trank’s handheld debut feels less like a superhero caper and more like Elephant with super powers – every one of the protagonists feels like a real adolescent with relatable issues. And if you think things get too moody during the middle section, the final act delivers one hell of a climactic set-piece (although it does feel like someone is sweding Akira on a digital camera).

4/5   

Snow White & the Huntsman

Remember that bit in the Disney flick when Snow White leads a raid on the evil queen’s castle? If you’re a fan of the original fairy tale, this 21^st century upgrade is likely to leave you baffled. The tone is pitch black, the dwarves are barely in it, the Huntsman has been inexplicably elevated to main love interest and Kristen Stewart looks somewhat bewildered throughout as the titular heroine. Former commercials director Rupert Sanders does a decent job at handling the large scale spectacle, although in his hands Snow White & the Huntsman feels like it’s trying to emulate Sleepy Hollow and Lord of the Rings.

2/5

Prometheus

When Ridley Scott stated that Prometheus, his first venture into science fiction in thirty years, was to be set in the same world as Alien but not a direct prequel to the cult space horror flick, he was met with scoffs and rolled eyes worldwide. In the cold, cash-driven environment mainstream filmmakers operate nowadays, it wasn’t hard to believe Ridley had gone and pulled a Lucas and was about to inflict a Phantom Menace on one of sci-fi’s other beloved franchises.

Well now the film is finally upon us and as it turns out there is both good news and bad news. The good news is Scott’s vision has not been corrupted by the corporate machine. In fact, Prometheus presents enough visual flair (the frosty rock-strewn landscapes of Iceland lend an imposing backdrop to a film that is far from warm) and hefty core themes (where do we come from? Were we created? Or are we just part of a cosmic evolutionary cycle?) to ensure it could easily function as a standalone title.

The bad news is that, half hour into the film, you’ll wish Scott hadn’t steered clear of the Alien franchise to such a great extent. Despite the director’s admirable restraint, you will most likely be longing for a direct link between Prometheus and Alien within the first half hour, when instead all you get is a wink and a couple of easter eggs here and there (and perhaps a few xenomorph eggs too). It’s like getting a prequel to Gladiator in which a group of legionaries stop outside a Roman villa long enough for you to recognise it is actually Maximus’ home, but then they don’t pop in for a quick hello.

Speaking of frustrating, the crew aboard Prometheus are less characters, more thinly drawn caricatures. Logan Marshall Green is the jock, Charlize Theron the corporate bitch, Idris Elba the depndable captain and if you squint hard enough, you can see “sacrificial lamb” stamped on the rest of the crew's foreheads. Meanwhile, a gaping Ripley-shaped hole needs to be filled by a contemporary feminist icon, so it might as well be a job for Lisbeth Salander (Noomi Rapace, sporting a decent British accent that meanders into Swedish during her more emotionally intense scenes).

The only player that truly stands out from the ensemble is the ever reliable Michael Fassbender. In the past year the Irish-German actor has managed to mould sexual predators and masters of magnetism into complex and compelling characters, and he does the same here with David, an ethereal android who mimics human beings with childlike wonder and, on one occasion, ill-judged ambition.

In case the last three paragraphs have given the impression Prometheus is not worth the price of the ticket, rest assured that is most definitely not the case. What you have here is not a modern classic to rival its progenitor, but an unusual sci-fi offering that intermittently dips into unsettling body horror – Rapace stars in what will most likely be remembered as cinema’s most gruesome abortion scene. It’s moments like these where Scott almost matches the pitch black standards he set himself thirty three years ago.

3/5