Thursday, 17 May 2012

FILM 2012: Avengers Assemble

I apologise monolithically for the tragic delay of this review. For circumstances beyond my control - such as organisational clashes, and my stinginess at only wanting to go on an Orange Wednesday, and what of it? I have stuff to pay for! -I had been unable to watch the Marvellous Avengers Assemble (Joss Whedon) until last night. I set out with this blog not wanting to make any review of a film in which the majority of civilisation had seen before me, however I felt like, having mentioned Avengers on my film 2012 hot list, I should probably give it a mensh, and this, by the way, it deserves.

Yes, I heard the excellent press for Avengers Assemble, but I had no idea how fully the blockbuster would live up to this. Firstly, the concept of a multiple superhero mash-up was clearly going to be a winner. The film is, as you would expect, an explosion of some of the sweetest action scenes committed to CGI. From Thor whooping some ass with his volatile hammer, committing the ultimate man affirming move by head-butting the Iron Man, to Robert Downey Junior's 'I'm going to restart an aeroplane engine by pushing the fan to lightspeed'; and even Captain America impresses with his trusty infallible shield.





The film doesn't take itself too seriously. I laughed out loud at many instances, including when the Hulk and Thor take down some gigantic robotic worm (you've seen the trailer, they're called a Lethiathan), and out of the blue the Hulk punches Thor. The Hulk beating the beans out of the "you can't treat me this way, you dull creature, I am a God!" fellow. The Hulk in general was a pleasant surprise. I have to admit, and I think a lot of people shared my sentiment, that when I initially saw the advertisement for the Avengers I thought to myself, well the Hulk's the Meg Griffin of this group; he's big and green and angry, who cares? But he ironically became my favourite Avenger in the film, not just from the comic relief of his obvious anger management issues, but because he does live up to the others in terms of fighting capability.







With this mash-up narrative, it was inevitable that there was going to be a lot of comparing... foot size amongst the superheroes. They draw attention to what we all were thinking, with Iron Man ripping it out of Thor's just-stepped-out-of-a-Shakespeare-play manner of speaking, someone commenting that Iron Man is just a costume, Iron Man dissing Captain America's lack of apparent function in the group. Tony Stark generally being a lovable arse.






I also liked the way, unlike with most superhero movies, there wasn't necessarily a black and white, good and evil side. Yes, of course the Avengers are the goodies, and irritatingly persevering Loki and the alien invaders are the bad guys. But, perhaps like Nolan's The Dark Knight, human authority isn't necessarily presented as the Good Guy. The theme of American arms aggression within the higher ranks of the administration, I felt was very brave from a Hollywood Blockbuster to address; the Nuke-Happy leaders are shown to be at least a catalyst for world war here, and this questions the notion implied by other film where Good = America and Evil = Everyone Else.







Hats off to Joss Whedon, the writer-director responsible for Buffy the Vampire Slayer and the screenplay of Toy Story. It just shows that you don't have to be a big screen Michael Bay to make something entertaining but also sharp, fresh and witty. The new ideas, the unpredictability of the narrative and the slick writing are what keeps us on our toes in Avengers , an audience which has been zombified by other predictable Hollywood money-machines. Overall the story was conducted smoothly and wrapped up very satisfyingly at the end, really polished.








I genuinely would pay to watch it again in the cinema. In 3D. And I would recommend you do so too. A slap in the face to conventional action film, Avengers Assemble is a heroic call to step the hell up. Whedon coming atcha.

Saturday, 12 May 2012

FILM: Crazy, Stupid, Love

"The war between the sexes is over. We won the second women started doing pole dancing for exercise."

The term 'Rom-Com' has a stigma attached to it. Mt first connotations include: trashy, predictable, cliche. The late nineties and early noughties hatched innumerable amounts of the genre. Jennifer Anniston became the go-to actress for such film.

But I have to admit, cropping up in the  twenty tens - is that what we call it, the tens? or teenies? god I'm so lost - is what I'd like to call the Smart-Rom-Com. Crazy Stupid Love (2011) is the latest example of this. The typical Romantic Comedy narrative is applied. We've got the challenged relationships, the battle of the sexes (aforementioned - CHECK THE HUGE QUOTE), the pleasing ending... But this is accompanied by postmodern intertextuality, self-conscious assertions that we are in a Rom-com - Emma Stone's Hannah in Crazy comments "I know what'd happen in the PG-13 version of this" - and, first and foremost, a great screenplay.

Crazy Stupid Love is ridiculously witty, and it knows it. Ryan Gosling's smoothie composition of Jacob, the 'Lady's man', is perhaps the principal manifestation of this. With lines such as "I don't know whether to help you or euthanize you" and "the skin under your eyes is starting to look like Hugh Hefner's ball sack", Gosling's delivery exudes charisma to an extent I didn't even know existed.

First mass-breaking hearts in The Notebook, Gosling transformed tortured and adoring Noah Calhoun to druggy low-life Dan Dunne in indie flick Half Nelson (Ryan Fleck, 2006) and later enigmatic dude in Drive (Refn, 2011), an exceptional film. In Crazy Gossers plays the typical hottie. In his presence girls descend into inarticulate behaviour, random exclamations of "I LOVE YOU", and even Stone's cynical Hannah screams "FUCK" when she sees this:




this pic does not do it justice.


but his character is so much more believable and interesting than the archetype hunk, his hedonistic and materialised lifestyle is clearly a cover up for his deep unhappiness. (Weep). And this is what the Smart-Rom-Com does. It makes characters which could be real people, with vivid flaws. Believable. Even Steve Carrel's character isn't as exaggerated and annoying as usual. Like 2009's It's Complicated the focus has been more on the, well, more mature generation of mothers and fathers, the family dynamic as well as dating and youth. It's full of connections between characters, and hosts a clever plot twist at the end, which creates a sense of harmony in wrapping up the intertwining narrative.

Crazy Stupid Love is not a brainless money-maker. It is fresh, it has a brain, it looks like somebody actually made an effort in assembling this, which is always a good thing. I hope the Crazy's, Friends With Benefits and Love Actuallys continue to dominate this market.



P.S coming soon: FILM 2012: Avengers Assemble





Friday, 4 May 2012

Films about Films

Scorsese's Hugo (2011) hogged the year's acclaim, raking in a total of 36 Awards - including two BAFTAs and five Oscars. With similiar aggressive bravado, The Artist (Michel Hazanavicius, 2011) sideled in, out of absolute cinematic liminality, and stole the show with 107 wins  - seven BAFTAs and five Oscars. I can't help feeling that their broad successes were undeserving, the reasons for which grounded on the proverbial kiss-assing of Hollywood, which is the main focus of both narratives.

In Hugo the charming story of an orphan's obsession with clockwork and fixing an automaton his late father left in tragic half-creation, I feel, was suffocated by the absurd fixation with old cinema, which lurches into the plot, as misplaced as Carly Rae Jepson at an awards ceremony for good songwriters.


Random picture from random Hugo


The Artist is a late echo of 1920s silent cinema. The film reportedly has no sound and is in black and white - someone might ask why on earth, in an age of Surround-Sound and High Definition, a film would want to return to such basics.


"just smile and wave, they won't notice the rip off"


Well, it's a Celebration of Film. Duh.

Postmodernism proclaims that everything has been done, and therefore we have to recycle the same ideas. This partially explains - but you can't excuse the inexcusable - Hasbro's desperate conversion of the game Battleship to the cinema screen in April. I didn't know if I was pleased or let down to hear that the film didn't consist of two people staring at either sides of their board, guessing a number-letter combination at random and hoping to devastate their opponent's miniature aircraft carrier.

More exciting than Rihanna?


Filmmakers also like to reference older films which have inspired them or they feel flesh-out and parallel their narrative. It is said that the Spaghetti Western and the Samurai film heavily influenced oneanother in the twentieth century. Then there's film enthusiasts who make films as cinematic as possible, ignoring realism for fantasist escapism.

Sucker Punch (Zach Snyder, 2011) is one such film I feel is really misunderstood. Much like Zach Snyder’s other masterpiece (strong words?) 300, it centres around all things cinematic. CGI, poetic shots, heavily choreographed action and drama create vivid entertainment here. For these reasons both films have been criticised for their lack of realism. That, to me, is like criticising a peacock for being too aesthetic. That is its function. Gaudy is what it was going for. I’m gonna compare this to Tarantino films – as with anything popular, there are masses of belligerent film critics putting in their two pennies worth. “Quentin just wants to celebrate cinema! How dare he!” Yes, because Inglourious Basterds (2009) was aiming to be a realistic historical documentary.

These films seem to accept a function of film as fantasy. I must admit, in Hugo we are bludgeoned with the idea that films manifest our dreams, and these films really do push that limit.

Anime Heaven: Sucker Punch
Rewriting History Win: The Bear Jew kills Hitler in Inglourious Basterds


 Such Film-celebrating films have raised deep questions:
Is Art imitating Life, or Life imitating Art?
but while the philosophers scratch their heads over this enigmatic question, I have one of my own.

Does this Film brownnosing make a film better, or worse?

It depends what format it takes. 300 - I've said it and I'll say it again - is a masterpiece; Tarantino is pretty much everyone's favourite director, and for good reason; and Snyder in general is a cinematic God. But, personally, and Art is nothing if not open to individual interpretation, Hugo and The Artist pushed their pretentious noses in a little too far.

Sorry, Scorsese, I really liked Gangs of New York.