Monday, 8 July 2013

Death Proof (2007) review

Quentin Tarantino is my all-time favourite film-maker for his brilliant dialogue, his creative stories and his fantastic casting choices which all fuse together to often create a cinematic masterpiece. "Pulp Fiction", "Reservoir Dogs" and "Django Unchained" hold a spot in my personal top 20 for its incredibly entertaining dialogue, often humorous violence, endearing characters and the brilliant pacing. Going into Death Proof, I knew that this would be my least favourite Tarantino film but what I didn't know was that nothing I loved about Tarantino would be in this film.

The film focuses around a stuntman who has a "death proof" car that he uses for stunts in films. Going by the name of Stuntman Mike, he comes to the position in which he decides to use this car to chase after drunk and idiotic women and kill them.
One of the biggest mistakes made by Tarantino is the idea to kill our supposed protagonists an hour into the film. Unlike in Psycho (1960), in which the second hour picks up from the events of the first, here the story is in almost no way affected by what has happened and we as an audience are forced to take it in. What should’ve happened was having Zoe Bell and her friends being killed off early in the film and then established our main characters (who we saw in the opening hour of the film)

The first hour builds up using various dialogue sequences that unfortunately cannot capture the magic of previous Tarantino scripts. A sequence ensues with our supposed main character and her friends talking to Stuntman Mike but a few minutes later, they are dispatched. This half of the film should’ve come second, especially seeing how the events of the second half are hardly focused on. Stuntman Mike pops up and chases after another bunch of girls who eventually take him down. The film should’ve had these group of girls being taken out fairly early in the film, especially seeing how there were roles by Zoe Bell and a few others. This should’ve been a cameo role in which she and her friends are taken out by Stuntman Mike, who then proceeds to kill another group of girls after meeting them at a restaurant. This would’ve created a bit more tension seeing how our main character does have any sort of connection to Stuntman Mike. 

Tarantino’s strength has always been his dialogue which is always entertaining. He has created some of my all-time favourite dialogue but here, none of his dialogue is slightly entertaining. In previous films, we are able to follow his dialogue such as when Jules and Vincent are talking about “royale with cheese” but here, we are forced to painfully swallow 90 minutes of girls gossiping about sex and boyfriends which is neither humorous nor clever. The group of girls come off as nothing but gossip girls and in that way, doesn’t resemble Tarantino’s earlier brilliance. 

The performances itself were very disappointing, especially seeing how Tarantino is able to get the best performances out of his cast such as with Samuel L Jackson, John Travolta, Uma Thurman and Christoph Waltz. In fact, the only worthwhile performance is Kurt Russel as Stuntman Mike but the supporting performances are weak.

The pacing too is horrendous as each dialogue sequence takes forever to move on. In other Tarantino flicks, we are engaged with the dialogue that we lose track of time however horrible acting, terrible writing and poor directing is exposed making us simply feel the need to check out our watch. 

The only positive aspect I could say about the film is the absurd car chase sequences which definitely boost up the overall score of the film. They are long, somewhat funny and surprisingly entertaining. Though some of the most illogical decisions are made, which furiates me, the chase sequences itself were more entertaining than every other aspect of the film combined. The first entertaining scene was about 45 minutes into the film where this girl gets a ride from Mike, who brutally dispatches her. This scene brought the first energetic smile out of me for the whole film. That brought back what Catwoman said in The Dark Knight Rises. “My mother warned me about getting into cars with strange men!”


Earlier, I suggested a different way in which the story should be structured which immediately reveals Tarantino's poor directing. The dialogue itself, which Tarantino is a master of, is absolutely horrendous and the only way in which the film is somewhat enjoyable is through absurd car chases. That said, the end to the film was about as anti-climatic as a film could get and made me laugh. 

Grade- 3.5/10

Monday, 1 July 2013

Double Indemnity (1944) review



http://www.razorfine.com/wp-content/uploads/2012/08/double-indemnity-blu-ray1.jpgHailed by many as the greatest Film-Noir of all time, I was definitely in need of checking out Double Indemnity. As someone who is growing a love for classic films, I decided not to have any sort of high expectations and thankfully, Double Indemnity is not only an intriguing film but it is a film as close to perfect as possible. It does something interesting that most films at the time of its release would never have done, which is reveal the big “secret” within the opening minutes hence allowing the audience to be fully invested within the characters and in order for them to effectively enjoy the film that much more.

Fred MacMurray plays a salesman named Walter Neff who recounts the events leading to the death of Mr Dietrichson, as he meets Ms Dietrichson and forms a strange affair with her. The strange affair leads to the seductive Phyllis Dietrichson persuading Walter to join her in a scheme to kill her husband and in order to receive an indemnity. Realizing that there is indeed ‘a double indemnity’ if killed on a train, they agree to do so but an insurance manager, Keyes, shows his suspicion about the death of Mr Dietrichson and attempts to solve the crime.

Billy Wilder’s Double Indemnity is one of the greatest films from the Golden Age of cinema, featuring fantastic performances by Fred MacMurray and Barbara Stanwyck, who resemble and embody the characters. Barbara is shown as a rather lifeless woman, yet seductive especially how she initially acts around Neff. Walter is portrayed as a rather wise and cunning man, as portrayed at the end of the film. Keyes, played by Edward Robinson was truly fantastic in his role as he truly embodies every bit of characterization of Keyes. He outsmarts those around him, his determination to solve the death is evident and his inability to be fooled is quite easily evident.

The story is fantastic, complex and deeply layered giving each character enough depth, even Mr Dietrichson’s daughter. Each character is still easy to understand and their motivations are clear. The story telling structure is very clever and how the story unfolds is even better. The cinematography is gorgeous, the lighting often stands out.

It isn’t just a crime/drama tale. It has all the essentials for a masterpiece with an ability to mix in various genres such as thriller and romance. With this, Wilder accomplishes far more than he otherwise would have. A near perfect film that exceeds in every department of film making. 

Grade- 10/10

Man of Steel (2013) review



http://oyster.ignimgs.com/wordpress/stg.ign.com/2013/05/man_of_steel_poster7-610x889.jpgMan of Steel was a movie that I hyped more than anything else in my life. I was one of the hundreds of thousands of people who believed this to be the Dark Knight for Superman films. The trailers hinted such depth and exploration into the fascinating character of Kal-El and we were exposed to some of Synder’s killer action sequences. The music was something I was worried and the more I was exposed to Zack Snyder’s films- “300”, “Watchmen”, “Legend of the Guardians” and “Dawn of the Dead”, the more I was worried about the quality of the film. However, Nolan’s touch in the film kept my hopes high.
As everyone knows, ‘Man of Steel’ tells us the story of Kal-El, the last son of Krypton, and his coming to Earth and him becoming a godlike protector for humans. General Zod and his men, the few other Kryptonians to have escaped, are in search for Kal-El as they attempt to retrieve something that was taken from them. Something which would lead Earth to a terrible fate and something which would lead Krypton to a glorious fate.

The first hour of this film is pure brilliance, even if flawed. Some questions are still left unanswered such as why the council sentenced Zod and his men to the Phantom Zone if they were in anyway aware of their ability to escape following the destruction of Krypton. However, the first hour generally displays Nolan’s touch into the film, providing some emotionally powerful sequences of Kal-El being an outcast, throughout his early days of high school to his adulthood. Generally kept very quiet, this hour truly helped us get a better understanding of the character especially as he wanders off into the North Arctic, where he confronts a spiritual creation of his biological father, Jor-El, played by Russel Crowe. Here, he becomes Superman and here he comes to learn of his whereabouts and the reasons behind being sent here. Thankfully, we are emotionally invested in various characters. Others such as Perry White and Lois Lane are also presented nicely, though we yet to know much about them asides from Lois attempting to track down Kal-El. The point is, this hour is quiet, emotional and a very realistic take on Kal-El, unlike previous Superman films.

The next hour is generally, action packed. This is where much of the critics have argued about the film, stating that there is simply too much action sequences to comprehend. Whilst it is action packed, it generally does have a story behind it except for one elongated sequence with Kal-El fighting part of the World Machine, unleashed by Zod, as he plans to terraform Earth into Krypton. This sequence proved tensionless, dull and an attempt to visually engage its audience. The idea of Zod and his men terraforming Earth is an incredibly clever plot and the best thing here is, Zod’s motivation. He is presented as a genetically bred and engineered man, assigned with the duty of keeping his people safe. Christopher Reeve as Superman was patriotic to America as Zod is to Krypton. His motivations are made clear, not by dialogue, but by facial expressions and actions committed. However, despite having a motivation behind him, he proves to be a rather underwhelming villain for the film, seeing as how he doesn’t pose much of a threat but rather, his right hand man, Faora does. She was more intimidating than Zod simply was and Antje Traue portrayed her perfectly.

Most of the performances in the film are great. Crowe, Costner, Cavill and Fishburne are fantastic in their roles. Costner and Crowe give such great advice throughout the course of the film and are portrayed as such loving parents as is Diane Lane, who portrays Martha Kent. This was one of the film’s strongest aspects and that is the loving relationship between a mother and a son. When Zod finally threatens her in search for the Codex (which would revive Krypton), it was such a delight to see Superman attack Zod in anger. The scene featuring a young Kal-El unable to control his overwhelming power is now related here as Zod is temporarily weakened by his inability to control his senses. This is the brilliance of telling the flashbacks in a non-linear structure as they each provide emotionally impact to what is happening to Kal-El in the present day. 

However, there were a few performances that could have been better, most notably Michael Shannon (who was surprisingly underwhelming) and Amy Adams, who despite doing a decent job, often shows no chemistry around Cavill. It was revealed in an interview that she hardly acted with Cavill, and green screen was instead used.

The first hour was perfectly paced, keeping things nice and quiet as well as relatively slow. However, the last hour feels a bit too rushed in the process of creating larger than life action sequences, which was a delight to finally see in a Superman film. The final confrontation between Zod and Kal-El was proving incredibly exciting but was over too quick in the most controversial way. I personally loved it.

John Williams’ iconic Superman theme is one that I listen to everyday, regardless of where I am. I just love it so much. Whilst I do understand how such a theme would not fit in this universe created, I personally had a bit of trouble with Zimmer’s score, which was somewhat distracting at times. It generally proved to overpower scenes, especially one where Kal-El is launched into Earth.

Whilst I had numerous issues with the film, there was so much to enjoy about the film and is a unique and exciting take on Superman that unfortunately does lose most of the charm of the previous. The action, visuals, storytelling and performances are generally fantastic making ‘Man of Steel’ an enjoyable summer blockbuster, even if its overall a disappointment. 

Grade- 7.5/10