Showing posts with label Caleb Landry Jones. Show all posts
Showing posts with label Caleb Landry Jones. Show all posts

Friday, 25 August 2017

Review: American Made





American Made
Cert: 15 / 115 mins / Dir. Doug Liman / Trailer



One of the main reasons I go to the cinema on a Friday afternoon is that there's a smaller footfall than evening screenings, so the film is less likely to be disturbed by badly behaved patrons. That said, even I was surprised when I was one of four people watching the August-release of a Tom Cruise™ movie. Either the diminutive screen-god's appeal is waning, or Universal have absolutely no idea how to market this movie. And after the overall reception of their last collaboration, either is eminently possible…

Cruise plays Barry Seal, an airline pilot making a sideline in the late 1970s smuggling low-level contraband from South America, when he's recruited by the CIA to use his skills for more sensitive operations. Before long, his successes catch the attention of drug cartels, revolutionary forces, the DEA and FBI, all of whom want some of That Seal Magic, all of whom are willing to pay handsomely. Whether Barry's wife and children share his professional enthusiasm is a different matter…


Well, this is a pleasantly interesting mess. Skimming through events from 1976 up to a framing device in 1986, director Doug Liman presents a barrage of vignettes rather than a continuous narrative. Our protagonist's first-person narration does its best to stitch the scenes together, but there's always the feeling that this is an 800-page biography hacked down to just under two hours. The movie certainly captures the air of barely-controlled chaos, probably a little too well in fact.

There's always the feeling that Seal's enterprise is one step away from going completely south, even during the second-act high. The problem then is that you can't ramp up the tension for the climax because the audience is exhausted trying to keep up. The necessarily convoluted story is made needlessly more so by the erratic editing and camerawork. Many of the shots have fantastic Instagram-type filtering applied but this is used inconsistently, even within individual scenes. Visually, this film is all over the place.

While Sarah Wright and Caleb Landry Jones do their very best in supporting performances as Barry's wife and brother-in-law respectively, pretty much every shot revolves around That Guy Who's Smiling On The Poster. And young Tom is woefully miscast here; great at being Tom Cruise™ in a role crying out for another actor (his character's Southern Accent rears its head every ten minutes or so, only to skulk immediately away again). Without having met the real-life Mr Seal, one would imagine an actual drug-smuggler, arms-supplier and money-launderer would have a requisite level of roguish charm, rather than Tom's casual naivety. After two hours in his company, I'm still none the wiser as to how much of Barry Seal is in Tom's undemanding performance. American Made is never unpleasant to watch, but at the same time you know it often needs to be.

A more cynical version of me might even suggest that Liman is afraid of making Tom Cruise™ the bad guy, or even the anti-hero, of the story. In which case you'd have to wonder what the point of the film is, exactly. 2015's Black Mass is a perfect example of an almost uniformly bland actor (these days, at least) getting their teeth into a thoroughly reprehensible yet magnetic character. And when Johnny Depp is out-acting you, you're really not trying.

Yet for all my complaining, it's fun. From Domhnall Gleeson's wonderfully enigmatic government agent to the volatile drug-cartels and law enforcement agencies, the brisk pacing leaves little-to-no downtime and the lion's share of runtime is like a GTA-inspired farce*1. But it's a story told from a barstool, rather than from an armchair.

Entertaining, if thoroughly unfocused and ultimately forgettable, this is Scarface for the Hangover generation. If only Barry Seal had half the character of Tony Montana…



So, watch this if you enjoyed?
This film's a bit War Dogs, although it tries to have more fun.


Should you watch this in a cinema, though?
Only if you have a burning need to see the film soon; you won't lose too much by catching this at home.


Does the film achieve what it sets out to do?
Not as much as it thinks it does.


Is this the best work of the cast or director?
Nope.


Will I think less of you if we disagree about how good/bad this film is?
Nope.


Yes, but is there a Wilhelm Scream in it?
Nope.


Yes, but what's the Star Wars connection?
Level 1: General Hux is in this.


And if I HAD to put a number on it…


*1 I say this a lot, but during this movie I really had a hankering to play Vice City Stories. And it's not so much that American Made lost my attention at all, just that I really fucking love Vice City Stories… [ BACK ]

DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.

Saturday, 22 October 2016

Review: War On Everyone





War on Everyone
Cert: 15 / 98 mins / Dir. John Michael McDonagh / Trailer



Well. When a movie gets three separate walkouts in the first twenty minutes, you know it's doing something right. John Michael McDonagh's War On Everyone isn't so much boldly provocative as lazily insolent, a trait which proves, over the course of an hour and a half, to be both its best and worst points.

The setup goes: something something, dysfunctional cop-duo; something something, crime-lord; something something, do whatever it takes to get the job done including swearing a lot and shooting everybody. With the best will in the world, there's little that's new about this film other than the head-scratching excess of it all. While the more controversial moments in the film still aren't as hateful as many mainstream movies offer, War On Everyone does seem to reinforce the belief that if you make your characters deplorable enough you can get away with having them be as openly misogynistic and xenophobic as you like, with no comeback. And making the film's villain a sociopathic paedophile hardly balances the scales; pointing and going "yeah, but this one's worse, look!"

War On Everyone is a film that's barely even aware that the line of good-taste exists, never mind if it's being crossed. And it's not facile, adolescent posturing, more that the film comes off as The Nice Guys but with far fewer fucks given; a buddy-cop duo where both partners are the world-weary, grumpy arsehole. Alexander Skarsgård's Terry displays a disdain for the world that's only matched by the treatment Michael Peña's Bob reserves for his own family. And yeah, Bob & Terry. How many Likely Lads references have you enjoyed at the cinema recently?

Which leads me to wonder, did this film get made as a result of someone winning a bet? Or was making this film how the bet was won? Because I can't imagine War On Everyone being formulated through anything other than cocky, wilful, nihilistic cynicism, and that's not typically how the studio system tends to operate.

The 1970s aesthetic sits at direct odds with a story which is demonstrably set in the present-day, many of the characterisations in the film are illogical at best and the story goes to Iceland (the country, not the supermarket) and back for no discernible reason. The soundtrack contains what can only be described as a dangerous amount of Glen Campbell, and even then the Rhinestone Cowboy dance sequence seems like it's been dropped in from another film…

And speaking of other films, I think the gruff-voiced, hunch-shouldered fight scenes may be used as the backbone of Skarsgård's Batman audition-tape. Michael Peña is great fun (although he always is), Theo James overacts delightfully as the criminal mastermind, Tessa Thompson tries her damnedest to treat the script like a regular film and Caleb Landry Jones steals the show as the campest (yet still utterly despicable) henchman you've ever seen.

What can I say? It's patchy as hell but quite a lot of fun at times. The film's not setting out to shock you; it genuinely doesn't care what you think, and I suspect you'll only really get out of this what you take in.
I enjoyed War On Everyone, I'm just not sure who really benefits from its existence…



So, watch this if you enjoyed?
Well, a bit of The Nice Guys, but also a bit of Scarface.


Should you watch this in a cinema, though?
You won't get much more from a big screen than you will from a smaller one.
Especially if your friends/family start walking out
.


Does the film achieve what it sets out to do?
Well, if that's 'being a petulant v-sign to the mainstream buddy-cop movie' then yes.


Is this the best work of the cast or director?
Not really.


Will I think less of you if we disagree about how good/bad this film is?
Not at all.


Yes, but is there a Wilhelm Scream in it?
There isn't.


Yes, but what's the Star Wars connection?
Level 2: Co-lead Alexander Skarsgård underwhelmed me earlier this year in The Legend of Tarzan alongside Sam 'Windu' Jackson.


And if I HAD to put a number on it…


DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.