On Elysium

On the back of 2009’s District 9, Neill Blomkamp has been given more money to tell a similar story. District 9 was an allegorical science fiction film exploring themes similar to apartheid. It was lauded on its release and is certainly a fresh addition to the sci-fi genre, incorporating a documentary style approach via the inclusion of a talking heads segment. District 9 does suffer a little from repeat viewings, losing some of its subtleties and suffering from the performances of a largely unprofessional cast.

Elysium does not suffer from the latter, in fact it is Matt Damon that drags us through this heavy-handed film, proving once again he is one of the most versatile American actors. In its story of an apocalyptic Earth where the rich are encased in a Green Zone like space station, Elysium lacks any subtlety in telling this simple parable. The characters are thinly drawn and wear their personalities on their sleeve, as if the audience are too uncivilised to muddle through the complexities of good versus bad, rich versus poor. The dialogue feels forced in the mouths of most of the characters and the Hollywood shine added to the opening and closing sequences negates the impressive, dirty mise en scene of Earth. Blomkamp’s two features are further proof that more money negates creativity. 

On The Lone Ranger

From the team that bought you the Pirates of the Caribbean franchise (2003 – 2011) comes The Lone Ranger, which is equally as big, loud and expensive as the first Pirates instalment, although not as fun. When it works, such as in its final set piece, The Lone Ranger is a fun film, but it is much too long and there are narrative strands which mean the overall effect is a little messy. The film continues to offer American audiences the comforting feeling that superhero films offer and could be placed into the Marvel canon quite easily. Neither Tonto nor The Lone Ranger is as interesting as Jack Sparrow, Depp’s character from Pirates and rather than engage, we simply get pulled along. Sequels are certain. 

On Alan Partridge: Alpha Papa

Steve Coogan’s comic creation Alan Partridge first appeared on spoof British news network The Day Today in 1994. Nearly twenty years later Partridge makes the move to feature film (after a series of TV appearances and a memoir) in Alpha Papa.

The film, a standard, but very funny three act piece that plays with the action genre well is enjoyable for its 90 minutes. But the real skill on screen here is in the durability and consistency of Coogan’s Partridge. Coogan has never compromised on the personality of Partridge and has carefully chosen those who write his dialogue. The result is a film that feels like an organic development from the TV and this is surely its greatest coup. They’ve not attempted to enlarge the story in line with the screen; the narrative is one that Alan fits into very well and we never question the progression, even when Alan becomes a pier end hostage negotiator.  

Alpha Papa does not once drop the comedy ball and is very funny throughout. There isn’t much more you could ask for from a comedy. 

On Dissection in Only God Forgives

It turns out that there is a fine line between a mercurial personality/film and a boring one. In Drive, the 2011 film that director and star of Only God Forgives first worked on prior to this, they achieved the former to great effect, pleasing audiences and critics. The follow up to Drive was always going be a tough prospect, but Only God Forgives disappoints in the vital areas.

The acting surpasses being staged to become frustrating. The narrative is beyond weak, attempting depth by encompassing and transcending the Oedipal complex, which like some post modern advertising campaigns makes the audience feel ignorant, when really the fault lies with ostentatious filmmaking. If there is an opposite of unquotable, the dialogue is that.

If it were not for the technical beauty of Only God Forgives, one would be forgiven for walking out. Every shot is stunningly framed; essentially the mise-en-scene (lighting, composition) is faultless and incredibly evocative. In the end, Only God Forgives is nothing more than the cruel (and untrue) collection of blonde stereotypes: pretty but dumb. 

On the 20s with Frances Ha

A few years ago The New York Times published an article about how the decade of the 20s has become the decade for self discover. Now it is the 30s where young men and women start to think about marriage, jobs etc. A decade later than their parents.

Frances Ha is a film very much about this phenomenon. The film joins Frances at the age of 27 as she tangles with her career, her relationships, her friendships and even her accommodation. Everything is uncertain and Frances, like her other 20 something friends, like it this way. They are picking careers like pick ‘n mix, increasing their circle of friends exponentially, moving around the city, experiencing the neighbourhoods and making impulsive decisions. This is what, according to The Times the 20s is now, a time to experiment so that in the 30s, decisions are made with experience.

Although it deals with a very real occurrence that many of its audience will relate to, the film itself, like those of the French nouvelle vauge it references is very self aware, almost fantastical. It is shot beautifully in black and white (are there two cities better suited to film than New York City and Paris?) and the script paints these characters with a fluid intellectualism made commercial by Dawson’s Creek (1998 – 2003).

The film succeeds in evoking that period of uncertainty, both scary and exciting, before settled life begins and is charming and genuinely funny. For those of the generation, it will be hard to fault, as it is perceptive without being aggressive with its message.