Okay, the problem (my problem, not this film's) is that the events in and between the Hunger Games movies happen in relatively rapid succession from each other (moreso in this Part II), and tell a solid, continuous story. Even though the films have been released one a year, I watch a lot of movies between each screening. I don't generally play catch-up before sequels, and was unable to make last week's double-bill of Mockingjay Part 2 and its predecessor. And the part of my brain that I use for storing cumulative back-references etc is already pretty much full of the Galaxy Far, Far Away's events.
What this meant is that other than the "Here's the map, we're going there to kill him" segments, the moment the characters started referring to the minutiae of the ongoing plot, I sat there thinking 'Right, what the hell are they talking about again?'. I know the general gist, but my brain could barely remember the names of the characters I was watching, never mind ones they were alluding to off-screen. I guess this is what civilian audiences feel like watching Star Wars.
And as much as this fourth installment of The Hunger Games has a lot of plot-wrapping to do, the film takes its own sweet time getting there. There are some great action sequences on display*1, but far too much downtime in between them, as if the screnplay is frightened to build up too much momentum and peak too early. This pacing is fine for the actual story being told, but not so much for the film.
As with Hunger Games series in general, there are many aspects I enjoyed and more than a few I had problems with. Although my overriding feeling was 'wow, this really wasn't made for me…'
[ …and for all that fannying about getting across town in secret for half the film; couldn't they have just stolen some of those Stormtrooper-lite outfits?
Oh, and when they come back out of that building once the oil-lake's drained away, how come they're not slipping all over the place? ]
Oh, probably. As a Maze Runner kid, I'm probably the wrong person to ask…
It looks great on a big screen, and you'll already know if you want to make the cinematic committment.
I don't even think it's the best one of the series, in all fairness.
Why, this movie stars Captain Phasma herself, Gwendoline Christie.
*1 Oh, and as much fun as the sewer-battle is, it feels woefully out of place in a dystopian socio-political adventure movie. It also reminded me that I really must watch Aliens again…
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.
Ah, the Cold War, those were the days. Remember when you could have a long-term international stand-off based purely on fear, suspicion and non-racial xenophobia? The days when ideas alone were just as dangerous as actions? Y'know, before it all got a bit too heated?
Well, our Steven remembers, and he's brought us a film all about Jim Donovan, the US Insurance Lawyer who was tasked in 1960 by the government to negotiate with the Soviet/East-German authorities for the release of US spy-plane pilot, Francis Powers, in exchange for one of their captured snoops, Rudolf Abel. Armed largely with determination, an intricate understanding of American law and a compassion often absent from his colleagues in the CIA, Donovan also attempts to barter for the release of American economics student, Frederic Pryor, from the West-Germans. What? A two-for-one spy-swap, you say? But that's crazy! Will he succeed..?
Well, this is a Steven Spielberg film…
Okay, maybe I've been overly flippant about the whole thing, and Bridge of Spies is definitely a story worth telling. The film is earnestly made, and while it occasionally gets a little too hand-wringy, it's nowhere near as mawkish as the likes of War Horse. Fantastic performances from Tom Hanks (as the lawyer) and Mark Rylance (as the Soviet spy) make it all worthwhile, as do the occasional moments of wry wit. The pacing's a little patchy however, as is the notation of the passage of time.
There's also the feeling throughout that Spielberg's holding back; that a quiet respect for the factual events and the people involved is preventing this from being a more dynamic and entertaining film. At the same time, much of the political and historical minutiae is merely sketched in (as is a dazzling array of accents), so the final movie can't really be held up to Lincoln as a semi-educational piece, either.
What comes across the strongest is the story's ethical/humanitarian message, and while it's delivered from the heart, I think Spielberg may be preaching to the choir for the most part. This isn't the Oscar-bait of a January release, but nor is it an intricate legal/espionage drama in the run-up to Holiday Season.
Had it been an entirely fictional story, Bridge Of Spies could have gone further and been a great movie; although it's still a good one in the meanwhile…
For most audiences, not quite.
Unless you're a massive fan of Hanks or Rylance, this will be a rental.
Best, I couldn't say, but incredibly solid, certainly.
It does, but in a rather staid fashion.
Nope.
Nope.
(And there's one bloody perfect moment for it, too.)
Bridge of Spies is directed by that Steven Spielberg who also made those Indiana Jones movies starring that Harrison 'Solo' Ford bloke.
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.
Logan's Run (1976)
Cert: 12 / 118 mins / Dir. Michael Anderson / Trailer
Wow. Just, wow. This is what you show to students to give them an appreciation of all those the behind-the-scenes staff, the ones who make the magic of film come to life…
As shonky, simplistic and heavy handed as the screenplay is; as thoroughly wooden the script, both in its writing and delivery; as much as you'd swear blind that the sets for the Death Star trash compactor and Echo Base had been up-cycled after shooting wrapped here… you just have to admire the restraint of a camera-crew who didn't kill the Production Designer that insisted on having a mobile bad guy made out of mirrors.
The casting director who thought the 33yr old Michael York could pass for 26yr old Logan needs to take a long hard look in one of those mirrors, and because Jenny Agutter's hair becomes instantly soaking wet and slicked back (Michael York's doesn't follow suit, neither do their outfits) in the escape-scene before the water gushes into their chamber, the continuity editor can sit in the naughty-corner, as well.
And let's not forget the two separate vocal coaches working alternate days to ensure that both Agutter and York switch between Queen's English and Transatlantic Drawl with alarming regularity.
Okay, dystopian sci-fi flick Logan's Run is by no means awful, but is certainly Of Its Time™ and there's plenty to take the piss out of, even if the central themes of societal collapse, obsolescence and free-will are timeless and continue to be the backbone of many a modern story*1. As showy as the film tries to be, the result is that it looks consistently cheap - a common pitfall when painting an outré, minimalist future. Of course, that's easy to say in retrospect; if the last fifty years have taught us anything it's that culturally, humanity's future will likely be horrifyingly bland, rather than quirkily outlandish (although it's good to know that in 300 years' time, escalators will look exactly as they did in 1975 shopping malls; so there shouldn't be any problem in getting spare parts).
This vision of the future is not so much a museum piece, more of a curiosity in an antique-shop window. Perhaps ironically, given the subject matter, Logan's Run has not aged well at all…
Really, it just never crossed my path.
I am, yes.
From a historical/educational point of view, sure.
There are many like it, but I didn't hear the exact one.
The film stars the voice of Dr Nuvo Vindi himself, Michael York.
*1 And the irony is duly noted that I criticise movies like Divergent and The Hunger Games for being a direct retooling of vintage dystopian cinema, then apply harsher judgement to those forebears themselves. Credit where it's due, the white uniforms of 'The Capitol' guards don't seem quite as naive after watching a city full of people waltzing around in green and red chiffon…
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.
I'll freely admit that I took my seat*1 in Screen 3 with a faint sense of dread. Usually, a Friday afternoon viewing is a relatively sparse affair, with the low-numbers dispersed around the auditorium so that interaction and distraction are relatively discouraged. But given that the target audience for The Lady In The Van is the generation who no longer have to wait to get out of the office on a Friday, I was joined by a rather senior crowd, and a sizeable one at that*2. And while this lot may not be checking Facebook every twenty minutes, experience has taught me that age is no barrier to the disregard of the Code Of Conduct, and the first twenty five minutes of the film were indeed accompanied by a near-constant rustling of confectionery bags and hushed conversation…
Luckily, the second Jim Broadbent movie of the week more than held its own against this initial torrent, although The Lady In The Van is also another film which has been harshly undercut by its own trailer. Watching the promo-reels for Nicholas Hynter's adaptation (as I have, many times over the last six months or so), you'd be forgiven for thinking that this film could only be more twee if Maggie Smith was joined by Julie Walters and they sat in the Bake-Off tent knitting bobble-hats while Zooey Deschanel played a ukulele in the background surrounded by kittens and Stephen Fry narrated the whole thing. Amazingly, this somehow isn't the case.
The semi-ironic kitsch is still there, of course, and the story itself of Alan Bennett's long-time visitor is neither surprising or demanding. Maggie Smith is fantastic in the role, but then you'd expect nothing less.
But the other half of the film - the half which the trailer doesn't even hint at - circles uneasily around the conflict of the professional writer, personified in this case by two Alan Bennett's inside the house ('one to live the life, the other to write it') snarking and sniping at each other's shared shortcomings. It's boldly presented early in the proceedings as a device whereby the author of the story/play/book/film can talk to himself whilst narrating and deconstructing the tale as it's being told, and brings a massive self-awareness to the point of being far more interesting than the film the audience were expecting to watch (which does 'Miss Shepherd' herself something of a disservice). That said, the final few scenes threaten to jump the shark of Meta™ completely, and I thought the "ascension" sequence to be jarringly out of place.
In a screenplay which doesn't delve too deeply into Bennett's personal life but gives the audience enough to have him be unfailingly relatable, Alan Bennett comes over as being sometimes sad, sometimes bitter, but always far too understanding of himself. There's also a remarkable amount of Effing and Jeffing in Alex Jennings' portrayal considering the 12A certification; but context and intention are everything, and you've rarely heard more charming profanity. Spanning twenty years in which no-one seems to physically age too significantly, the film arguably paints a far more detailed portrait of the artist than it does the subject.
But what stood out for me the most is that I know Broadstairs fairly well, and it says a lot that the small Kentish seaside town evidently doesn't have to be set-dressed at all to passingly depict the 1970s…*3
With certain reservations (ie the film won't be for everyone, despite me finding it surprisingly enjoyable), yes.
Oh, it's a Sunday-afternoon DVD without a doubt, but you may not get too many repeat viewings out of it.
I don't think this is Maggie Smith's best work, although that's only because she's consistently great. Alex Jennings is fantastic too, though
It does.
Not really.
Unsurprisingly, no.
Well, let's go for Maggie Smith, Frances de la Tour and Jim Broadbent, who have appeared in all/various Harry Potter movies along with Domhnall 'Hux' Gleeson, Jason 'Inquisitor' Isaacs, Warwick 'Wicket/Wald' Davis, David 'Huyang' Tennant, Julian 'Veers' Glover
Which, when you consider that list covers all three Star Wars trilogies and two animated TV series, isn't bad going at all…
*1 Truth be told, I didn't actually take my seat, as there was already someone sitting there. I'm not a massive fan of the allocated-seating system but I've adapted to it, and while I've been 'that guy' telling someone to get the fuck into the seat printed on their ticket and out of mine, when that person is a lady in her seventies, it's debatable whether a lecture on theatrical etiquette (polite or otherwise) is going to achieve any worthwhile outcome. So, I was the better person and just sat in the row in front, bracing myself for the next patron to walk in and ask me to kindly get the fuck out of their seat. Luckily for everyone concerned, this didn't happen as I'd chosen a vacant one. The system is generally self-policing, but at what cost? The pre-film tension is unbearable. This is what happens, Cineworld! This is what happens! And it'll be me who gets thrown out for punching a pensioner who was technically breaking the law…
*2 And despite my antisocial moaning, the one thing I'll never moan about is the number of bums-on-seats. That's what the cinema is there for, and I want my local to be as successful as possible. No, it's the general conduct of those patrons which irks me.
*3 Yet ironically, Weston-Super-Mare is mentioned in the film, and for the exterior shot there they've used the cliff-tops in Ramsgate (next door to Broadstairs in Kent, rather than the Somerset location), and even in this day and age, Weston looks far more 1970s than anywhere else in the UK…
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.
