Archive for October 2017

By Nadia Ranaputri

Image source: IMDB

Director: Taika Waititi
Cast: Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Mark Ruffalo, Tessa Thompson, Idris Elba, Jeff Goldblum, Karl Urban.

In what might be Marvel's biggest gamble since Guardians of the Galaxy, Thor: Ragnarok takes the biggest risk that in the process, succeeds a little more brilliantly than Marvel's previous entry, Guardians of the Galaxy Vol. 2.

Ragnarok opens with a humorous monologue from Thor that eventually leads him to have poke around with the devil Surtur, and a great opening fight set to Led Zeppelin's Immigrant Song. It is then with the arrival of Hela that leads to Thor's banishment and leaves him stranded in the planet of Sakaar. With the help of his companions, old and new (the incredible Hulk most definitely included) Thor sets out on a mission to prevent Hela from taking over Asgard and cause Ragnarok, the end of everything.

Ragnarok is possibly a rather big gamble for Marvel, but one of the biggest payoffs is that they let Chris Hemsworth's Thor be the wise-cracker, the sass-machine, and the genuinely humorous hero. Waititi's direction and script is one of the reasons why a wise-cracking God of Thunder (mistakenly dubbed Lord of Thunder at one point during the film) works so well, but it's also Hemsworth's genuine performance that adds so much more to what could have been a forced performance. His fellow companions, the return of the always cunning Loki, the innocent Bruce Banner, and the fierce Valkyrie are all great additions that complete the team of misfits that in a way, are the alternate Guardians of the Galaxy.

Image source: Imgur

This of course, is very much a Marvel movie, but it is also, a Taika Waititi film. If you're familiar with Waititi's films, then it wouldn't be much of a shock to see how much of his familiar absurdity is placed in Thor: Ragnarok. Taika's films brims with brilliant humor that feels genuine and have become something that's of his own. No one else could do Waititi's humor better than Waititi himself, and a lot of that is seen here in Ragnarok. You could say it's a Taika Waititi film dressed in a superhero garb. But that's what made it stand out. Marvel took a chance with Waititi, just as much as they took a chance with James Gunn for Guardians.

Waititi's small yet memorable presence as Korg also adds to the absurd dynamic of the humor, adding great humor that's elevated with the Kiwi accent that makes it so much funnier than it would in a standard American accent. It's fitting to see how Korg could be a reminiscent of Waititi's previous roles as Alamein in Boy, given how his constant relaxed way of speaking could remind those of how Alamein tells his misadventures to his son in Boy, or some parts, his Priest speech in Hunt for the Wilderpeople.

Thor: Ragnarok is loaded with eccentricities, and it's not a sin for anyone to relish in its eccentricities. Taika brings in his oddball magic into the world of the God of Thunder with joyful proportions. The previous two films went for the typical Marvel humor, and a grounded story, but Ragnarok is the firecracker that should have been lit up a long time ago. When it goes into an all-out colorful oddball space quest, Ragnarok doesn't just dip its hand, it submerges its hand in a bowl of mixed candy melts. And boy, does it fit with its equally bright palette. Ragnarok is a deliciously colorful candy bowl that bursts with color and flavor in every bite. It's Marvel's very own neon Disneyland. Every brush from its palette is a trippy wonder that is similar to that of Doctor Stange's, but slightly trippier. It's the eccentric space romp that still strays much further from the tone of the Guardians, as it is its own comedic space romp with its own eccentric aspects. Ragnarok doesn't need to go much into specifics, if it's weird, let it be.

Image source: IMDB

The film isn't flawless. It has its faults, despite being covered up in its colorfully lucid palette. As soon as the opening fight sequence ends, the problem begins. The first ten minutes or so of the film that continues after the opening sequence with Surtur could be a little fast-paced, with characters suddenly figuring out what the other had done with no clear explanation other than "I just know it", a sudden arc to a certain character that seemingly came out of nowhere, and the appearance of another familiar face that, while being a very fun sequence; went a little too fast to the point where you question why it's even there. But that's only during the beginning. It does continue to go on its merry way right after. Another lies within the villain itself. Does Hela solve the Marvel villain problem? Unfortunately, no. While Cate Blanchett relishes her chance in playing the Goddess of Death (and it clearly shows in her performance), Hela's presence becomes less threatening the more we see her (which we really don't), that even then when the stuff in Sakaar ends and transitions to her in Asgard, it becomes an entirely different film, and it's easy to forget that she's even there.

Yet in the end, Thor: Ragnarok pays off, big time. Since it's coming from a director who has his own unique brand of comedic tone, Ragnarok's gamble with tackling humor becomes one of its greatest aspects. There's a good amount of substance and heart, too, that grounds its eccentricities, but not entirely as to screech it to a halt. Great chemistry is had between Thor, Loki, and Banner that become the cherry on top and adds more to their dynamic as work partners and as friends (or frenemies, in Loki's case).

Whatever Thor: Ragnarok was going for, it works, in nearly every single possible way, whether it's in the action, chemistry, and the overall tone. As soon as that opening fight sequence rages to the Immigrant Song, the tone is set: it's going to be one hell of a ride. Thor: Ragnarok is the most fun I've had and in the best possible way, the widest smile I've made while watching a film in a long time.

Stars: 4.3/5

Trailer

By Nadia Ranaputri


Image source: IMDB

Director: Martin Campbell
Cast: Jackie Chan, Pierce Brosnan, Michael McElhatton, Liu Tao, Charlie Murphy, Katie Leung.

Having a similar kind of revenge story as this year's American Assassin, The Foreigner takes what American Assassin lacks and elevates it a little more than what the previous film did, once you overlook a couple of its flaws.

Based on Stephen Leather's novel The Chinaman, The Foreigner is a story about Quan, a former special forces operative who loses his daughter in a terrorist attack. Desperate to find the group behind the attack, and with no help from government officials, Quan takes it upon himself to seek revenge for the death of his daughter.

Jackie Chan, a known master of stunts in the acting world, lays his comedic chops aside for a more serious role that no doubt, takes him on another level. When Chan's Quan loses his daughter, his sadness and desperation becomes a wicked tour de force that easily seeps through the screen. It's a hard-hitting moment when Quan is overcome with grief from his daughter's death, and becomes a driving force for Quan to eventually take revenge upon the people behind the attack. Chan manages to hold his parts splendidly, albeit some slips to when his Quan returns to his former assassin-like demeanor that on some parts, aren't as engaging as the film goes on.

Pierce Brosnan as politician Hennessy, however you want to put it, is neither a bad guy or a good guy. When Quan confronts him to the point where his assassin-self awakens in order to find answers, Brosnan's Hennessy becomes distressed with having to deal with a father who's revealed to be a former special force member, and even his constant pleas for Quan to drop the subject makes a blurred line between which of his actions are for the greater good, and which one is the complete opposite. Brosnan's performance is a fine one, but is watered down by the script, the arc that his character has to follow throughout the film.

Image source: IMDB

The film itself however, is a different kind of story. While Chan's performance elevates what could have been an utter mess of a convoluted film, the film is pretty much guilty of relying on a couple of action-film tropes: a staggering mess of intervention from local authorities, government, and a plot twist involving someone from the side of the law that anyone could see from a mile away, you name it. What's more, whilst The Foreigner might be seen as Quan's story, it is also Brosnan's. There's a cat and mouse chase that goes around between Quan and Brosnan's Hennessy, which the film really should have left the story at that; and a whole other array of complications. Not to say that it's a complete mess, but it's too focused on making its plot as complicated as possible, when really, it should have settled for a simpler execution. What we're left with is a tangled mess of interweaving plot points that either make no sense or serve no point for the story.

What makes up for the film's lack in its story, is eventually the action that brings the most out of the film. Unlike Blade Runner 2049, marketed as a sci-fi action flick, but is eventually something deeper with minimal action; The Foreigner packs in plenty of punches, and I'd be lying if I said it wasn't one of the film's best aspects, because it is, especially when it's Jackie Chan that's doing the action. Chan is known for doing his own stunts and is at his best once he fights. He's up for the job and he does it superbly, proving his worth once again with an equally strong performance. The action is brilliantly choreographed, and while it doesn't break barriers, it's still something to behold. Moreover, it strays from one of the worst tropes in an action film: shaky cam, if done the wrong way. While The Foreigner utilizes a couple of handheld shots, it does at times use shaky cam the same way the Bourne series does: shaky, but doesn't intervene much with the action that ensues; except for how some of its scenes were transitioned.

Image source: JoBlo.com

The Foreigner is no Resident Evil: The Final Chapter. For the most part, it doesn't overuse its action film tropes the way the last Resident Evil installment did with its horror tropes, despite seemingly steering towards that particular direction and even falling into it at times. The Foreigner has its share of fun and sense of engagement in its action to make up for the film's faltering execution in its story. It's watchable, to say the least, once you overlook the story and settle for its action-filled ride and great performances.

Stars: 3/5

Trailer

By Nadia Ranaputri

Image source: Manchester Evening News

Director: Mark Gill
Cast: Jack Lowden, Jessica Brown Findlay, Laurie Kynaston, Adam Lawrence, Jodie Comer, Katherine Pearce, Simone Kirby.

"How's the world gonna remember you?" A character asks in the film. If you've followed Morrissey's career, the answer is clear, and the world now certainly remembers who he is by it. Based on the true story of Smiths front-runner Steven Morrissey, England is Mine sets its sights on a particular era of Morrissey's life before he became the front-runner of the indie band that he is known for during the 1980s as well as today.

England is Mine tells the early life of Smiths front-runner Steven Morrissey as he navigates his way around life, forming new bonds whilst breaking old ones, and his struggle to make it to the spotlight as the singer that the world knows now.

Lowden, a promising talent, has been since 2016 crime drama Denial as well as this year's war epic Dunkirk; plays the quite yet passionate singer with some delightful intruigue. Unlike his friendlier and more open roles, this one is like a fizzle in a fire. It's charmingly quite, but in an endearing way. Is he a socially awkward and at times, a mopey jerk? Yes, and the film has moments where his sulky attitude causes his only friend to abandon him, or when he cuts his friend off as she tries to console him by stating that her "Life is too short," saying is a cliché; but listens to artist Linder's "Be yourself, everyone else is taken," advice as if it wasn't the same thing. But it's where his buried hatred for people becomes his way of artistic expression that makes him interesting. There's something quite poetic in the way he remarks about life, particularly when he states of life as, "the factory for father, and the kitchen for mother". Through the course of the film, Morrissey becomes bored of his ordinary life to the point where he's frustrated as to why no one ever takes notice of him and why they see him as the odd one out.

Think of Morrissey as Danny Boyle's depiction of Steve Jobs: brilliant, yet filled with ego. What creates a distinction between this depiction of Morrissey with Boyle's Steve Jobs is that Morrissey is shown as an introvert, mumbling about how life isn't as fair as he wanted and how tedious everyone is; whilst Jobs wastes no time telling people that what they're doing is wrong straight to their face. It's a rather odd comparison, but what makes them one and the same are that despite their seemingly egotistical ways, they have the ability to create something that the world was soon able to see.


Image source: Twitter

Jessica Brown Findlay as Steven's enigmatic yet open companion Linder Sterling steps alongside our lead and graces the screen, eventually threatening to grab the spotlight from our lead. Linder is one of the few people Steven opens up to, and is comfortable with. Though she is one of the few that Steven considers as a friend, she is the opposite of Steven. She is more driven, more open, and as the biggest threat to our lead: more interesting.

Following a visual palette that uses color and cinematography the way J.C Chandor's A Most Violent Year did, England is Mine plays with the era that the story is set in, with its visual palette being bright, yet muted. The cinematography is also stunning, from luscious wide shots of a gloomy 1970s Britain to a medium frame depicting Steven in his own bedroom, either bored out of his mind or creating a set of his own written works on a typewriter (or a personal favorite of mine: one where Morrissey stands outside a door, his blurred figure visible from the inside of the house). It's a wonderful piece of visual feast for the eyes, as its shots are no doubt aesthetically pleasing.

Essentially, England is Mine feels more like a character study than it is a story. England is Mine becomes a ravenous grip that pulls us in to get to know their enigmatic line of characters, particularly Steven. It's an interesting look into the people that Steven meets in his life, and a more intriguing look into Steven himself. It's as if Stephen King's Rita Hayworth and the Shawshank Redemption was about Steven Morrissey. Morrissey, when it comes to the way the film portrays him, is poetic and admittedly brilliant, but an arrogant introvert whose moments of arrogance and social awkwardness creates a fine line between eliciting a laugh and an eye-roll from viewers. He has subtle humor, and one he probably would never expect to elicit a laugh from anyone who listens, but it is enough to cause a chuckle, with one scene having someone he seems to despise ask him what he wants to eat, to which he responds, "I don't care, as long as it's poisonous."

Image source: RTE

Despite that, when you consider the story and the way it falls together, it is sadly, rather bland. Since it is an unauthorized biopic of the Smiths front-runner, it's unclear whether the story depicted is what actually happened to the real Morrissey (though biopics tend to divert themselves from the reality of the story by making their own version), but its way of telling his life story, especially as it chooses to focus on Morrissey's pre-Smiths era; is not as intriguing on screen as it probably was on paper. As an insight on the life of a man who would become the front-runner of the Smiths, there's not much to grab a hold of in terms of story, especially during the first and second act. Not to mention some of the film's rapid pacing, switching from one scene to another with no clear resolution for some of its scenes.

It does however, pick up when Steven befriends Linder, before eventually falling flat again for the remainder of the film. It's not until the third act of the film where Morrissey spirals into a black hole of depression and utter misery that is different story altogether, and one where the film finally picks itself up again. It is also where Lowden's performance becomes the elevating element of the film.

I'm not familiar with Morrissey or the Smiths myself, but the film depicts him in a captivating way, though the real Morrissey might not be too fond of it, especially when he never approved of the biopic. England is Mine can be dull in story as well as a glum affair to the point where its state of despair passes on to the viewers themselves, but it's uplifting at times, mixing its gloomy palette with a dash of humor that for the most part, lands gracefully. If it weren't for its witty dialogue and enigmatic characters, England is Mine would have fallen completely flat on the floor. Fortunately, it doesn't, and that's the best aspect that the film manages to achieve.

Star: 3/5

Trailer

England is Mine premiered during the UK/ID Festival 2017 as the opening film of the festival.

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