Shaken, Not Stirred - A 007 Double Feature

Casino Royale

This movie was certainly a long time coming. The film rights for Ian Fleming’s first 007 novel, Casino Royale, had been tied up for nearly fifty years due to complicated legal finagling, and as a result, a true adaption had never been made. Thankfully, the legal mess has been all sorted out, and in 2006 we were given the Bond film fans had wanted since the beginning of the franchise.

Casino Royale was a huge change of pace for the series. The film gave us a new actor in Daniel Craig, who plays a younger, inexperienced, egotistical, emotional Bond.  It eschews the standard 007 fare of fancy high tech gadgetry, outlandish villains, and outrageous stunts and goes with a much more realistic approach. The gadgets that are there and grounded in real-life, the bad guy isn’t merely a caricature of a cartoonish mustache-twirling villain, and the stunts are a bit less silly this time around. That isn’t to say that the stunts aren’t still incredible or are in short supply, however. The movie opens with an extraordinary foot chase through an active construction site that involves Bond and a bomb-making parkour expert jumping from crane to crane at 200 feet in the air. The action is high-intensity and extremely well done, and it’s lavishly sprinkled into the film at exactly the right moments. But as good as the action is (and it really is oh so good), the scenes that feature it are easily surpassed by the rest of the movie. Casino Royale does an excellent job of ratcheting up the tension and keeping there, especially during the poker game that comprises most of the film’s second act. And even that says nothing of the well-developed romance between Bond and Vesper. Casino Royale is a masterpiece; a glorious example of how to do a spy movie the right way. Every piece, from the acting to the action to the script (which is simply phenomenal), fits together to form a wonderful whole.  It is a resounding success in every sense of the word.

I won’t pretend to be an expert on 007, but Casino Royale is by far the best Bond film I’ve seen, and I wouldn’t be surprised if it wasn’t the best film in the franchise to date. It is so well-done that to top it would be an amazing feat indeed. No doubt they tried to. And that leads me into…

Quantum of Solace

The 2008 sequel to Casino Royale, Quantum of Solace, picks up almost immediately after the ending of the former. As far as I know, it is the only direct sequel to a previous film in the entire James Bond franchise. With a new director at the helm, but featuring the same writer and cast as the first movie, QoS was poised to be an even bigger hit than its predecessor.

First of all, however, there are a few things you need to know about this movie: Because it is a direct sequel, Casino Royale is absolutely 100% required viewing before going into this one. The plot between the two films is dense and complicated, and requires your full attention to refrain from giving up all hope and just watching the pretty explosions. And that would be a shame, because the story really is quite good. Secondly, Quantum of Solace is a much darker film than Casino Royale, and Casino was already a bit depressing. QoS is the violent, bloody, inevitable outcome of CR. James Bond is out for revenge, and it doesn’t matter who or what gets in his way.

Because of 007’s renegade behavior, and the fact that everyone who comes in contact with him ends up dead, M (played again by the wonderful Judi Dench) puts out an order to track Bond down and bring him in at any cost. This makes for a few very interesting scenarios of cat and mouse, as well as some great interactions between Bond and M. Dynamics like this, along with other character relations, are what make QoS interesting, as the basic plot is a bit on the weak side. Which is a shame, because the overarching arc between both movies really is quite good. Make no mistake though, Qauntum is an action movie through and through.

Director Marc Forster wastes no time jumping right into the action with a fantastic car chase as soon as the lights go down. This is followed by a foot chase a few minutes later. In fact, Forster seems to really, really like chases, as Quantum of Solace features not one, not two, but four chase scenes of one type or another. The movie is like a 100 minute game of tag. I kid, but no seriously there are a lot of chases. There is a lot of action in general, but sadly, Forster opted to go with a more Bourne style of action, featuring lots and lots of shaky cam and tons of lightning-fast quick cuts, making it nearly impossible to tell what’s going on in certain scenes (the aforementioned foot chase is the biggest offender here). When the action works, it works, in the heart-racing, adrenaline-fueled, fist-pumping “HELL YEAH!” kind of way. But when it doesn’t work, it’s riddled with shaky-cam, poor editing and occasionally poor, incredibly obvious CG work (most of the stunts in both movies were done practically, so seeing the CG stunts is a bit jarring and takes you out of the moment). Thankfully, the good times outweigh the bad, making QoS a solid thrill ride front start to finish.

It’s often said that revenge is best served cold. However, Quantum of Solace is like the yummy, sugary dessert to Casino Royale’s meaty main course, and is best viewed immediately after the first movie. Both are great films, and even if you’re only a casual 007 fan like myself, they are well worth your time. I’m already dreaming about the next Bond movie, which should hit in November of next year. Indeed, “James Bond will return.” And you can bet I’ll be there day one.

I Love You Phillip Morris

“This really happened. It really did.”

            The disclaimer flashes on the screen seconds before the opening of the movie. I ponder it for a second, and then shrug it off. So I guess it’s a true story then? I’ve gone into this film nearly blind, knowing nothing save for the fact that Jim Carrey and Ewan McGregor play homosexual lovers. Little did I know that I was in for one of the most incredible, hilarious, tender, romantic, and genuine films I’ve seen in quite a while.

            Steven Russell (played by Jim Carrey, in one of his most interesting roles since Eternal Sunshine of the Spotless Mind) is a con artist. He is also gay. While serving his first term in jail, he meets Phillip Morris (Ewan McGregor) and immediately falls in love. The problem is, Phillip is transferred to another jail the next day. Their relationship blossoms through a series of smuggled love letters until Steven is able to con his way into getting transferred to Phillip’s jail. After finding a way out of prison, Steven impersonates a lawyer and gets Phillip out too, and the two start their life together. From that point on, it’s a tale of love, lies, and lots and lots of prison breaks, including one particular escape that must simply be seen to be believed. The most incredible part of this fantastic story is that the whole thing is entirely true. It actually happened.

            In telling Steven Russell’s story, the film performs a balancing act between being playfully humorous and surprisingly dark and serious. Its tone is light-hearted, and most scenes are truly funny, but occasionally you’ll see the dark side that is brought out into the open by Steven’s falsehoods and lies. Steven is a troubled man, ultimately realizing that he truly has nothing to hold onto but Phillip. It is both for and because of Phillip Morris that Steven does all the things that he does.

It is a very complex relationship, and it wouldn’t have worked were it not for the strength of the actors involved. Jim Carrey and Ewan McGregor play their roles incredibly well and they deliver a pair of superb performances. For being two heterosexuals, the two develop an incredible chemistry during the course of the movie. Their relationship feels real. An impressive feat, no doubt.

The entire film is an impressive feat. Directors Glenn Ficarra and John Requa manage to make the extraordinary romp of a plot and the truly convincing love story mesh into an incredible whole. I Love You Phillip Morris is a resounding success. As long as you’re able to handle the sight of two men kissing, this underrated film can’t be missed.

You Wouldn't Like Me When I'm Angry...

Ang Lee’s Hulk

            Disappointment. A complete failure. Just plain bad. These were the thoughts everyone had when they first saw Ang Lee’s Hulk in 2003. They went in expecting two hours of HULKSMASH, but what they got was a slow and deliberate character study of a cursed man. Sure, there was some action, but you had to slog through almost an hour and half of not action to get to it, an unforgiveable sin the eyes of the general public and critics alike. The reception was so poor that just five years later, the Hulk franchise was rebooted with The Incredible Hulk, an action packed re-do that righted all of Mr. Lee’s “wrongs.” But was it really that bad?

           Most superhero movies follow a well-established path – the hero gains their powers, learns to use them, and eventually has a climatic final battle with their arch-enemy for all the marbles. Hulk eschews that almost entirely. In fact, Hulk can barely be called a superhero movie at all, for the protagonist is anything but a superhero. Bruce Banner is a man struggling to contain a monster inside of him. Superheroes save other people, while Banner is merely trying to save himself - running from the military who wants to destroy him and/or use his body for research; running from his demented father who doomed him from the very moment he was born; running from the monstrous version of himself that he can’t even begin to control.

            Control is one thing Banner certainly doesn’t have. The movie may be slow and methodical during the first half, but right around the halfway point it opens up the throttle and becomes a fast-paced action extravaganza. Whenever Banner loses what little control he has, he transforms into the titular green giant and proceeds to destroy anything and everything in sight in an impressive showing of unstoppable power. For a movie that is almost eight years old, the CGI in Hulk really stands up to the test of time (unlike other movies from that era). The Hulk looks fantastic, and all the action is well-shot. Say what you will about the rest of the movie, but the special effects, the cinematography, and the overall visual style is simply top-notch.

            Of course, the movie isn’t perfect by any means. For starters, one simply has to mention the “comic book” style of editing Ang Lee opted for. He tried to ape the paneled nature of comics and insert that into the film. The result is a lot of transitions that feel better suited to a really bad ninth grade Power Point presentation. They are simply awful, and do not fit this film’s tone at all. Secondly, the acting must be brought to attention: specifically, how terribly mediocre it is, even crossing into straight-up bad territory with some characters. Eric Bana and Jennifer Connelly deliver merely acceptable performances as the leads. Sam Elliot is, sadly, just not that good here, and neither is Josh Lucas. Thankfully, Nick Nolte as David Banner elevates things just a bit by not being awful.

            Hulk does have its flaws, no doubt about that. The ridiculous editing, the bad acting, the dialogue that’s hit-or-miss. And yes, sometimes it does feel like the movie drags along a little too slowly. But if you actually see it for what it is, rather than the mindless summer blockbuster most wanted it to be, I think you’ll find a worthwhile film that truly does not disappoint. Ang Lee’s Hulk truly deserves a second look.

The Incredible Hulk

            Ang Lee’s effort failed. His brooding epic was reviled by just about everybody, and still to this day people look back on it with disdain. However, the studio couldn’t let a franchise like this just die, so they went and made a new one. 2008’s The Incredible Hulk features a metric ton of HULKSMASH, and obviously that’s what the people wanted. But is it really “new and improved”?

            This series reboot is almost a sequel, except it would rather pretend the first film didn’t exist. The Hulk’s origin story is shown in the opening credits, and then it’s off to Brazil to meet up with Bruce Banner. Banner’s been hiding out from the US government, and in the meantime has been trying to find a cure for his “condition.” Through an unfortunate series of events, the military finds him, and from then on it’s a game of cat and mouse between Banner and General Ross, who wishes to dissect the poor guy. The plot is really only there to get us to the HULKSMASH, funneling everything to a climatic showdown with The Abomination. The action, which I’ll get to in a moment, is all well and good, but sadly the plot is practically not there. It ends exactly where it began, having changed exactly nothing. It is barebones storytelling, which is disappointing. The people wanted less brooding Banner and more raging Hulk, and that’s certainly what they got.

            Since the plot is thin and disappointing, you really can just turn off your brain and wait for Ed Norton to Hulk Out. The action is plentiful and visceral, with plenty of cars, statues, forklifts, shipping containers, and other various objects being tossed around like beach balls. Everything and anything in the Hulk’s way gets smashed, beaten, ripped, torn, tossed, thrown, and used as a bludgeon. At one point a police car is picked up, torn in half, and used a boxing gloves. People aren’t immune to the rage, either. At one point a man stands up to the Hulk only to get kicked in the face and sent rocketing through a tree. It’s fantastic stuff. The final battle between the Hulk and the Abomination really has to be seen. I didn’t ever want it to end. The action is just awesome, simple as that. But it wouldn’t be anywhere without the wonderful effects work.

            The Incredible Hulk boasts great stunt work and marvelous CGI. Using a precursor to Avatar’s facial expression motion capture, Edward Norton’s facial movements are transposed onto the Hulk, giving the green monster a humanlike feel. This combined with his more “realistic” design compared to Ang Lee’s Hulk, makes for a much more believable character. The sound is also top-notch. Every boom and every impact rattles the walls, and even the Hulk’s thunderous breathing roars out of the subwoofer. If you want to show off your fancy new surround sound system, the film is certainly a good example of bass. I certainly enjoyed watching the movie with my system cranked, that’s for sure.

            On the acting front, this reboot fares a fair bit better than its predecessor. Edward Norton is undeniably a better Banner than Eric Bana, and that’s probably because the Oscar nominee is simply a much better actor. It’s a shame the plot is as thin as it is, because Norton really gave it his all here. Liv Tyler is arguably better than Jennifer Connelly as Betty, and the rest of the cast follows suit. The 2008 film clearly trumps the 2003 effort when it comes to acting.

            So, which movie is better? Hulk is clearly more thoughtful, had a much better plot, and was a much more daring take on the series, but is trumped in nearly every other way by the new film. Acting, action, effects, the lack of the terrible comic book editing, as well as simply being more entertaining. Both movies clearly have their strengths, as well as their own faults, but I think whenever I’m in the mood for some HULKSMASH, I’ll reach for The Incredible Hulk nine times out of ten. Ang Lee’s movie is a commendable effort, but the action-packed do-over is just more watchable. If you’re a fan of the Hulk, then get both, but for the casual everyday movie watcher, The Incredible Hulk is the way to go.

Legend of the Guardians: The Owls of Ga'Hoole

             If you took this movie and removed the entire plot, all of the dialogue, and most of the scenes, it might be ok. That might be a little dramatic, but in all honesty, Legend of the Guardians works better as a screensaver than an actual film. Zack Snyder’s crazy owl flick is the prime example of how visuals alone, even breathtakingly gorgeous ones, cannot carry a movie.

            The story follows a young owl, Soren (voiced by Jim Sturgess) and his brother Kludd. The two are kidnapped and recruited into an evil owl army, “The Pure Ones.” Soren escapes and along with a rag tag bunch of friends goes in search of The Guardians of legend, while Kludd stays behind and is brainwashed by the Nazis I mean The Pure Ones. If the plot did not center around owls, the story still wouldn’t be anything special, but at least it wouldn’t be completely ridiculous. My disbelief can only be suspended so high, and when two armies of owls armed with sharpened metal claws and highly decorated armor clash in Snyder’s patented super slow-mo, or even worse, when said owl armies are divided up into classes, such as scout, navigator, and blacksmith, there is going to be some facepalming. A lot of facepalming. The story tries so very hard to be serious fantasy, but the only thing it succeeds at is in failing spectacularly.

            If the plot was the ugly, ruined half of Harvey Dent’s face, the technical stuff would be the good half. For every wrong the story commits, there is a right in the ways of sound, visuals, and voice acting. Bar none, this movie has the best CGI animation I have ever seen. Some of the scenes are simply astounding in how beautiful they are. It is truly a sight to behold. Coupled with a very strong cast of voice actors that includes the aforementioned Jim Sturgess along with the likes of Hugo Weaving, Geoffrey Rush, and Helen Mirren, the technical part of this film is incredible. Almost perfect.

            Such marvelous work cannot come cheap, and it puzzles me greatly why anyone would spend all the time, effort, and money to produce such an awesome framework for a script that is bloody awful. The horrendous plot and the laughable dialogue sadly mar a masterful work of art. I have a hard time recommending this movie, but if you’ve got a brand new home theater set-up and you’re looking for a movie to show it off, you could do worse than Legend of the Guardians. Just try and not expect too much out of it aside from the pretty colors. 

Quick Hits Review: Slumdog Millionaire

A young man, an orphan who grew up in the slums of Mumbai, makes it onto the Indian version of “Who Wants to Be a Millionaire?” and against all odds, reaches the final question. After the show breaks for the night, Jamal is arrested and tortured under suspicion that he has been cheating. While being interrogated, he tells his life story; he talks about being a little kid in the slums, losing his mother to religious violence, escaping from a child slavery ring, and meeting the love of his life. Every answer to every question is expertly weaved into the story, giving you nice “ohh, that’s how he knew that!” moments. The plot is well-told, well-acted, and engaging. The movie delivers a roller coaster of emotions, from fear and sadness to love and triumph, and it does it with style.

             

            Speaking of style, the Best Picture winner of 2008 oozes with it. Everything has a Danny Boyle feel to it. Say what you will about Boyle, but he does two things very well: he can make many different kinds of movies, and he does them all with his own trademark style. From the visual effects to the soundtrack to the very way the film is edited, this is a Danny Boyle film through and through. If you’re a Danny Boyle fan, Slumdog Millionaire cannot be missed. If for nothing else, watch it for the silly dance number in the train station during the credits.

Inception

This one had been screaming for a second viewing and I finally caved. This movie is full of sadness, redemption, and WTF JUST HAPPENED OWW MY HEAD EXPLODED FROM THE AWESOME. I'm a huge sucker for sci-fi, especially sci-fi that opens up...possibilities? That's the best way to put it. More recently it was Source Code’s ending that gave me that kind of geeky philosophical orgasm, if that gives you an idea of what I'm talking about. These two films are remarkably similar on a certain level, now that I think about it; dealing with the idea of multiple realities, what's real and isn't real (and does it even matter?), etc. That kinda stuff really gets me going. Anyway.

If you don’t know what Inception is about by now, where have you been for the past twelve months? I’m not going to go too deep into the premise, but I’ll try and give a brief overview: Leo Dicaprio plays Dom Cobb, a self-proclaimed “extractor”, someone who (through fancy sci-fi technology) invades someone’s dream and steals their secrets. After failing to complete a job, he’s contacted by someone who wants not to take an idea, but to plant one. In order to accomplish this, Cobb and his team will need to traverse multiple dream states through multiple levels of sub consciousness. It’s all very deep stuff that is presented in such a way that you’re never left scratching your head going “bwuh?”  

I first saw Inception before I became addicted to movies, so the only actor I knew or cared about was DiCaprio. It gave me great joy this time around to see Joseph Gordon-Levitt, Cillian Murphy, Ellen Page, and even Michael Caine present and accounted for. While we’re on the subject of the actors, I’ve got to give a shout-out to the costume design. Each and every character is impeccably dressed here, and they wear their clothes well. Lemme tell you, JGL can wear a freakin’ suit. If only I could look that good in a suit and tie, amirite?

Aside from the wonderful cast and the mind-bending plot, the movie is an absolute joy to watch and listen to. The picture is fantastic in HD, everything is crisp, clean, and detailed (the café scene will blow your mind). As for the audio, it can only be described as “eargasmic”. If you’ve got the system, pump it up and revel in the glory of perfect sound.

Christopher Nolan shows absolute mastery behind the camera, weaving all the different levels and realities into one cohesive whole. A lesser director would have left the film in shambles. The fact that the Academy snubbed him for “Best Director” is simply boggling.

Inception is one of the best, if not THE best sci-fi movie to come out in years. The film is a masterpiece, one that begs to be watched and re-watched and watched again. If you’re looking for a roller coaster ride that never stops to let you breathe and doesn’t ask you to turn off your mind, look no further.

Source Code

You wake up. You’re on a train, and you have no idea where it’s going. In the seat across from you sits a woman, and she acts like she knows you. She keeps calling you “Sean.” But that’s not right, your name is Colter, and you have no idea who this woman is. Feeling dizzy, and more than just a little confused, you stumble into the restroom and take a look at yourself in the mirror. As soon as you realize that the person staring back at you is definitely NOT you, you’re engulfed in flames as a huge explosion rocks the train, killing everybody on board.

This is the situation Jake Gyllenhaal finds himself in at the beginning of Source Code. Immediately after the explosion, he wakes up in a capsule as a woman is telling him he needs to “go back in.” Gyllenhaal plays Cap. Colter Stevens, a military helicopter pilot who finds himself roped into the “source code” program, and he needs to find the man responsible for the train bombing or millions more could die.

The audience is just as much in the dark as Stevens is, and the slow build-up of reveals throughout the film works very well at keeping up the suspense. We’re right there with Colter as he learns more about the other passengers (including a very bubbly Michelle Monaghan) and tries to figure out who the bomber is, as well as what exactly has happened to him. Every time he goes into the source code, Colter has exactly eight minutes before the bomb goes off to learn what he needs to learn. It’s in this mixture of Groundhog Day and Moon that much of the story is revealed, and it works well. Without spoiling anything, the ending goes into deep heavy-duty sci-fi territory, and it opens up a massive realm of possibilities. It’s incredibly thought-provoking, even if I was practically screaming at the screen (in my mind) for it to end five minutes earlier than it did.

Jake Gyllenhaal is fun to watch as always, and Michelle Monaghan is wonderful as Christine. The score works as it should, but isn’t especially memorable. The special effects were fantastic, as was the cinematography and the editing. The script, while not penned by Duncan Jones himself, is smart without being pretentious (*cough*Primer*cough*). The movie as a whole is very enjoyable and always entertaining.

Duncan Jones has proven with his sophomore effort that he is more than a one trick pony. In my opinion, he is the premier up-and-coming sci-fi director of this generation, and he’s one I will certainly keep my eye on. Source Code, like Moon before it, is a resounding success.

The Fighter

The Fighter

 
     Christian Bale, you are my hero. He might for serious be my favorite actor. This is a man that seems to give 110% at everything and anything he does (although I haven't seen Terminator: Salvation, so he might not actually be perfect, however hard that may be to believe). You can tell that he put his whole heart and soul into this character. I heard it said somewhere and I'm not sure where, but I agree with it: this is Christian's movie. Mark Whalberg is the lead, and he gives the strongest performance I've ever seen from him, but when you're up against Bale there is just no competition. He earned that Oscar. But enough Christian Bale lovin', what about the movie itself?

     It was decently adequate. Nothing spectacular. I knew how the film was going to play out, and perhaps that made it less compelling than it could have been, but it was definitely worth watching. Melissa Leo does a great job here at creating a good deal of the family's turmoil, and it's very interesting to watch it all play out, much to Micky's dismay.

     Strong performances throughout, and a very well-done albeit predictable screenplay, with some decent tunes thrown in for good measure. Most of the soundtrack is classic rock, although I did notice some RHCP in there. There's a section in the second act where they throw in Aerosmith's "Back in the Saddle", and it just feels cheesy as hell, almost like they're shoving it right in your face: "Haha, see! He's starting to win! It totally fits!" But it just comes off feeling silly.

     If that sounds nitpicky, it's because it is. It's hard to find anything specifically wrong with this movie. It's just all around good, a very enjoyable boxing movie. The film doesn't ever stray off the beaten path, and that's ok. Sometimes that's all you want, and The Fighter delivers.

     Oh, and did I mention that Christian Bale is just awesome? Because he is awesome.

Welcome to Trick of Light Reviews!

Wow, look at me, I've got a blog now and everything! Guess that kinda makes me "official" and whatnot, huh? Me and everyone else on the planet. Even so, it feels nice having my own page. But I digress.

Welcome to Trick of Light Reviews! I'm your host, TwntyOneTwlv (or Sang, if you prefer), and I'll be using this space to post mini reviews of films I've recently seen, news, and anything else movie related that tickles my fancy. I'm not a professional by any means, and I've never done anything like this before, so I'm mostly doing it for my own enjoyment. But just maybe some of you will find some amusement in my musings and ramblings about my opinions. Maybe as time goes on, I'll start to suck less at this writing thing. Who knows?

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