On Rush

Rush is a period piece surrounding the on the track rivalry between Formula 1 drivers Niki Lauda and James Hunt. This is a formulaic film that offers no narrative surprises. The dialogue, especially that of the upper class characters, is hackneyed and the voice over’s of Lauda and Hunt are a misstep, attempting to develop the characters instead of letting the narrative do so. The acting however, especially that of Daniel Bruhl and Chris Hemsworth is excellent. The greatest achievement of Rush is in its representation of the sport, from the tactics of the car and the race, to the lifestyle and mostly the danger on the track. Ron Howard’s camera captures the power and speed of these cars and the crashes and Rush only really comes to life when the cars are racing. 

On Ain't Them Bodies Saints

Mostly working in shorts, David Lowery has moved into features with a beautiful, flowing western. The title, Ain’t Them Bodies Saints, is evocative of poetry and the film has a sense of being powerfully symbolic, but incomplete. The images and how Lowery uses light are reminiscent of Malick and Lowery is working in similar locations, moving his camera into intimate situations. Yet by the end, there is remains a feeling that Ain’t Them Bodies Saints is lighter than it should be, almost translucent. The beauty of the film is evident and the acting is notable, but the details are lacking and we leave Ain’t Them Bodies Saints not moved by a powerful love story, but impressed and excited by the director and what is to come. 

On Exploring the Darkness in a Summer Film with The Way Way Back

The Way Way Back has been promoted as the perfect summer movie, heart warming and impossible to dislike. These are accurate labels. The film does capture a sense of summer in a very positive way and the affirming message and quirky but relatable characters are hard to dislike. However, The Way Way Back is also unchallenging to audiences and to its own characters. It lives in the sun and avoids the darkness of the characters that is only addressed in a surface way. Steve Carrell’s stepfather is an unpleasant man, but the darkness in his personality – the cheating, the bullying, and the insecurity – is never explored in much detail. The alcoholism of the adults and the depression that is clearly present is brushed over. This is of course all done on purpose. The aim of writers/directors Nat Faxon and Jim Rash was not to create a difficult, challenging film, but a feel good piece of cinema. Yet, The Way Way Back may have been more memorable if they had explored the darkness. 

On 2 Guns

2 Guns is a by-the-numbers action film with a nod to the buddy cop genre of the 1980s including Lethal Weapon (1987) and 48 Hours (1982). This genre, as well as the action, relied on a strong comedic relationship between the two principle actors and the success or failure of such films relies on that. 2 Guns highlights the importance of casting working. Denzel Washington and Mark Wahlberg make 2 Guns work and the film is less entertaining when they are not on screen.  

On Twenty Years of Summer Entertainment with Jurassic Park

In 1993 Spielberg’s Jurassic Park first arrived at the cinema. It was an atypical summer blockbuster, lauded for its set pieces and special effects. Twenty years later, as Jurassic Park arrives in cinemas for a second time round (adding IMAX and 3D) it highlights the disintegrating quality of the summer tent-pole film.

The majority of the summer cinema offerings of recent years (or since the Marvel invasion) have been closer to theme park rides than films. They are loud, flashy, long, fun while they last but ultimately forgettable and short lived. Stories and character seem secondary to special effects and merchandise opportunities. And, while Jurassic Park offered huge merchandising opportunities and broke barriers with its groundbreaking special effects, its stories and characters are rounded, intelligent and relatable. The special effects serve the story, not the other way round and the action evolves organically, unafraid to focus on character.

Yet even more significant and rare amongst recent summer films is Jurassic Park’s ability to shock and move audiences. After repeated viewings, it is still spine tingling when the T-Rex emerges in the dark and rain from the shredded broken electric fence or when Lex and Tim crouch, terrified in the reflective aluminium kitchen, hiding from the predatory Velociraptor. And, just as he can today, Spielberg effortlessly switches from perfectly judged excitement to move the audience, such as when John Hammond reminisces about his early flea circus, or Alan Grant is moved to tears at the sight of the ill Triceratops.

Is it a change in the industry that prevents the majority of summer films offering what Jurassic Park does? Is it a lack of opportunities for new exciting directors or those experienced ones, like Spielberg? (Spielberg himself wrote that Lincoln (2013) was almost made for TV due to lack of investment). Or is it simply that audiences now prefer the shallow excitement of Fast and the Furious 6 or the repetitiveness of Iron Man 3? Perhaps it is a combination of all three, or maybe it is simply rose tinted nostalgia.