Looper

“I’m not going to talk to you about time travel,” says Bruce Willis to his younger self played by Joseph Gordon-Levitt during one of Looper’s many thought-provoking scenes. “If I did, we’d be sitting here all day making diagrams out of straws”. It’s a throwaway line that suggests director Rian Johnson is all too aware that, while Doc Brown had the luxury of explaining time paradoxes via a chalk board in Back to the Future Part II, Looper should not over lecture its audience and instead stick to its own, impressively crafted guns.

And guess what? It’s all the better because of it. What we have here is a surprisingly accessible SF flick that trusts the viewer is familiar with the general conventions of time travel (i.e. harming yourself in the present will inevitably harm your future self but not vice versa), but also offers a fresh spin on this often rehashed but rarely revisited genre (the most intriguing notion being some future events might just be set in stone but there are plenty of possible routes to get there). It’s the kind of film that puts Men in Black III’s half-arsed take on time travel to shame.

The set-up for Looper is a corker, for starters (pardon the rhymes). The year is 2044 and Joe (Gordon-Levitt) is a low-life hit man with the most unusual of tasks: he executes victims that are zapped back in time by the mob thirty years in the future. Despite the convoluted nature of the assignment, it’s a fairly straightforward job – show up at a specific time and place, dispose of body after execution, collect fee. Except when Joe is unexpectedly confronted with his future self (Willis), things get a little a tricky…

It’s hard going into further detail without spoiling the plot, so it’s probably best to focus on the rest of Looper’s merits. First and foremost, props should go to Johnson for showing the Hollywood big wigs that all you need to put together an impressive SF movie is $30 million, a farm, maybe a few location shots (in this case, Shanghai) and a cast low in profile but high on talent. This may be yet another future dominated by towering skylines, flying vehicles and transparent touch screen phones but the high-tech spectacle undeniably takes a back seat to the characters and especially JGL, whose uncanny resemblance to Bruce Willis is more down to the mannerisms and that cocky John McClane half grin, rather than the dodgy make-up and prosthetics.

But more importantly, Looper pulls off the incredibly tricky feat of balancing bursts of humour – courtesy of Jeff Daniels’ scene stealing pep talk and a diner squabble between the two Joes – with some seriously dark and unsettling touches. One early scene showcases how torture and time travel go horribly hand in hand, while the nature of old Joe’s plans in the present are too spoilerific to be discussed here but will no doubt spark that age-old debate that is so often held in philosophy lectures (you know, the one about baby Hitler).

The fact that the film takes the time to ponder upon such hefty themes does mean there is a significant lack of action during Looper’s third act, but rest assured, it’s well worth the break. Just sit back, take it all in and debate afterwards. Oh, and learn Mandarin.

5/5     

The Imposter

Sometimes life truly is stranger than fiction. In 1994, thirteen year old Nicholas Barclay went missing from his hometown after a game of basketball with his friends. Despite the best efforts of his family to locate him, the boy was never found. Fast forward to 1997 and the Barclays receive a phone call from the US Embassy in Spain. The local authorities seem to have found an orphaned teenager holed up in a phone box and he claims to be Nicholas.

Except it is not Nicholas Barclay, but a conniving impersonator named Frederic Bourdin, a thickly-accented Frenchman who is all too happy to narrate straight to the camera how he tricked a family into believing he was their long lost son from San Antonio, Texas.

Bart Layton’s documentary is a film that catches you entirely off guard. One could read the synopsis above and would be entirely justified to believe the reviewer in question has spoiled the ending with the kind of big reveal any other film would save for the third act. And yet within minutes of the film’s dark opening, you will soon realize that, like its protagonist, there is so much more to The Imposter.

Take Bourdin, for example: here is a man who should be so easy to hold in contempt, despise even, yet somehow comes off as a compelling raconteur, not to mention an unsettlingly charming one too. He is far from self-loathing but he doesn’t sugarcoat his story either, which as a result comes off, bizarrely, as honest and heartfelt.

The reconstructed footage will initially put off those who like their documentaries authentic and void of melodrama, but their inclusion is strategic. By having actors reenact the scenarios that were impossible to capture on camera, the real life footage packs a far more powerful punch, whether they are excerpts from Fox News or the tender clips taken by the real Nicholas Barclay before his disappearance.

The Imposter is also clearly not afraid of pushing buttons. Layton’s decision to play interviews with the lackluster Barclay clan against Bourdin’s more colourful account dares viewers to be put in the unlikely position of sympathizing more with the conman than the conned, a move which Michael Moore would never dream of pulling off in one of his features.

And then there’s the twist, the one that creeps up on you in the final act, after an hour of conflicting theories and half-spoken truths and that will have you looking up more info online once the credits start rolling. To reveal more would mean missing out on viewing and subsequently analyzing a brilliant film that sustains there is never one truth and that ultimately, some stories are too crazy even for Hollywood.   

5/5

Dredd

Imagine if Danny Boyle and Takashi Miike decided to direct a 3D action film together, the former applying a psychedelic touch to drug-induced hallucinations that play out in slow motion, while the latter depicts graphic acts of violence that range from wince-inducing to outright hilarious. That is probably the best way to sum up Dredd, Alex Garland’s take on the 2000 AD comic book character that goes to great lengths to distance itself from Danny Cannon’s ludicrous 1995 adaptation.

Judge Dredd is not an easy character to bring to the big screen. First of all you have the look: a scowling lawman decked in heavily padded riot gear who never removes his helmet, thus making it difficult for casual viewers to connect with a faceless protagonist. Secondly – and there is no way around this – Dredd is essentially a neo-noir fascist. He exists in a dystopian world where crime levels are so dire, the government keeps a lid on things by deploying ruthless agents in the field that are judge, jury and executioner all at once. If you happened to be involved in last year’s student demonstrations, you may find there is a lot to hate about such a totalitarian figure.

So how do you get around this dodgy issue? Well, for starters director Pete Travis and the studios have kept things relatively cheap. Marvel and DC are capable of bankrolling $200 million per movie, so a budget of just $45 million means the risk of Dredd not making a profit has been significantly reduced. The decision to have a CG-enhanced Johannesburg double for the sprawling Mega City One also pays off, as an LA or New York skyline would have been too overfamiliar in a fictional world. And while the decision to saddle Dredd with a sidekick may initially trigger painful memories of Rob Schneider in Cannon’s film, Olivia Thirlby proves to be the Judge’s perfect counterpoint as idealistic psychic Anderson.

The set-up, which sees Dredd and Anderson shoot their way to the top of scum-infested skyscraper in order to sentence the vile gang leader known as Ma-Ma (Lena Headey), is terrific in its simplicity, but makes for a one-note plot and one that unfortunately resembles that of another action film released this year, Gareth Evans’ The Raid. The fact that Evans’ film was a hit with critics definitely harms Dredd in the originality stakes, but luckily it has two saving graces.

The first is Karl Urban. Usually playing second fiddle to bigger name action stars in the likes of Doom and The Chronicles of Riddick, here he fills the titular character’s shoes majestically, as he pulls off a truly menacing and occasionally dry witted performance without ever showing his full face (surely he must’ve been swapping tips with Tom Hardy?). Dredd may be a neo noir fascist, but in Urban’s hands he’s a damn cool one.

The final saving grace is the highly graphic violence. All too often these days you get studios trying to tame the content of adult comic books for younger audiences, so the fact that Travis and Garland have gone for an unrestrained approach when it comes to shoot outs and brutal one on ones – all delivered to pounding industrial music – is something to be admired.

It may have its flaws, but as a re-introduction to the UK’s most successful and no doubt ballsiest comic book character, Dredd is a blood-splattered hit.

3/5     

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