The Dark Knight
5 Stars
There's been a lot of advance press concerning this new Batman, The Dark Knight flick. And I know a lot of you... well a lot of you probably already saw it. But for the 2 people in the civilized world who have yet to see it, and are sitting on their couch, reminiscing of the good old Jack Nicholson days of the Joker, wondering whether or not the film is worth all the positive press it's receiving. Wondering whether or not Heath Ledger's Joker really is Oscar worthy. Wondering if it does in fact live up to the hype. Well wonder no more, Brodie-maniacs. Cause as a person who actually saw the film, and as a well respected, admired, and not very well paid film critic, everything you've heard is not only true, but also a vast understatement of the true greatness of the film. I only give it 5 stars because that's how many my usual rating system would allow. On the IMDb, I gave it 10.
Christian Bale returns as Bruce Wayne/Batman, this time fighting a mysterious and demented criminal known only as The Joker (Heath Ledger). Aiding him in his fight against the scarred madman are his trusty butler Alfred (Michael Caine), the now Lt. James Gordon (Gary Oldman), Gotham City D.A. Harvey Dent (Aaron Eckhart), wise businessman Lucius Fox (Morgan Freeman) and Bruce's former girlfriend, A.D.A. Rachel Dawes (this time played by a real actress, Maggie Gyllenhaal).
One thing the Batman franchise as a whole, from the comics to the movies to the animated shows and movies, has always done is blurred the line between hero and villain. Batman is a hero, but he's not a clear cut hero (like his DC counterpart, Superman). He fudges the moral and ethical line to take down the bad guy, and makes no effort to show remorse for doing so. So he's the hero, but he's no Boy Scout.
On the flipside of that, the villain isn't necessarily pure evil. The way John and Chris Nolan wrote the character, and to an even greater extent, how Ledger (Lords of Dogtown) played The Joker, presents the villain as doing villainous things, as being a morally devoid entity, as being chaos incarnate, but it's not entirely clear that his motives are all that wrong. Sure his methods are destructive, murderous and utterly criminal. But is chaos for the sake of chaos all that wrong?
And that's the magic of Chris Nolan's directing and writing. He upholds, skewers and satirizes the traditional comic book notion of Hero vs. Villain, all at the same time. To intensify the point even more, there's Dent's downward spiral from beam of hope D.A. to corrupt and deranged Two-Face, fascinatingly portrayed by Eckhart (Thank You for Smoking). Eckhart portrays the cool, confidence of a D.A. who champions the fall of organized crime. And for the first two acts, you believe in Harvey Dent as the symbol of all that is good in Gotham. Then, after certain events, he begins his rapid descent into cynicism and madness. And to a character shift like that takes a special kind of moxie. And Eckhart exudes the talant to do so.
But make no mistake, there is one clear hero amongst the villains and near-heroes- Lt. James Gordon. Oldman (Harry Potter and the Prisoner of Azkaban) brings gravitas to what has previously been nothing more than an ancillary character. And his desire to do good and keep the people of Gotham safe is the shining beacon of good in a city shrouded in moral ambiguity.
It would seem that the three supporters of Batman are the only three truly "good guys." Gordon, who we already talked about, but there's also Caine's (The Prestige) Alfred Pennyworth as the guiding voice of reason for Bruce. And there's Freeman's (Wanted) Lucius Fox, who, in a very poignant scene, objects to Batman's methods, offers to help, then tenders his resignation due to his objections. Proving that standing by one's ethic code is more important than the alleged greater good.
Nolan's direction was perfect. He paces the movie just right. You never look at your watch, in the entire two hours and thirty minutes, wondering when it's going to be over. In fact, once the credits start rolling, you're asking yourself "Wait... it's over? No, there has to be more." Part of that is due to Nolan's deep understanding of how to construct his characters in their action sequences.
I've saved the elephant in the living room for last. Heath Ledger's performance as The Joker. If you're a regular follower of my blog, you'll remember that I've been ranting and raving about his performance since the first teaser hit theatres back in December. And I did the appropriate memorial page when he passed in January. So it may seem like people have been fawning over his performance on the merit that he did pass away.
But oh how you would be wrong, if that's your mentality. Ledger digs way deep down to find the true essence of The Joker. He's a mystery. He's an enigma. And he is the personification of pure insanity, pure chaos. He exists to create anarchy. Ledger takes Joker's lack of real purpose and motivation to exemplify himself as a counterpoint to Christian Bale's Batman. The performance is not only the best cinematic villain ever (take that Hans Grueber), but it is also one of the most nuanced and perfect performances ever committed to film.
Ledger's performance is completely Oscar worthy. Ledger lost himself in the role, and it is pure acting, at it's core. And there are plenty of other aspects to this film that are Oscar worthy. It is not only the perfect super-hero movie, but it's a perfect crime drama epic, oddly reminiscent of Goodfellas and The Godfather.
I give it 5 stars, because it truley deserves all 5 of them, and then some.
- Brodie Mann
Sunday, July 20, 2008
Friday, July 18, 2008
My Perfect Day: In Movie Scenes
Brodie Fanns!
I was perusing other movie blogs, as I do from time to time. And one of my favourites is "Misfortune Cookie", really cool stuff over there. Last week, I was checking it out, and she wrote this cool post on constructing the perfect day, using scenes from movies. This link takes you to the actual post.
I rather enjoyed it, and I figured I'd take a crack at it.
- I'd most likely start the day off recovering from the night before with Russell Hammond of Stillwater in Almost Famous.
- Then I'd probably grab a cheeseburger from Big Kahuna Burger, the cornerstone of any nutritious breakfast, like in Pulp Fiction.
- After breakfast, I'd probably want to pick up some new records. First I'd head to High Fidelity's Championship Vinyl, and try to trade barbs with Rob, Dick and Barry. Then I'd cruise over to Empire Records for "Rex Manning Day." Say no more, mon amour.
- For lunch, I'd have to do Chotchkie's, the favourite coffee spot for Office Space's Peter, Michael and Samir.
- I'd probably take a trip to the convention center, see if they've got a comic book convention going on, like in Chasing Amy.
- I of course can't make it through the day without taking in a Sonny Chiba flick or two, hook up with my good buddy Clarence Worely from True Romance.
- Dinner at American Psycho's Dorsia with some co-workers, but only if we have reservations.
- In the late evening I'd probably go bowling for a game or two with The Dude, Walt and Donny from The Big Lebowski. Of course, I'd make sure not to step over the line.
- I'd spend the rest of the night chillin' on the football field with the Robert E. Lee Class of '77 out of Dazed and Confused. When I first conceptualized this list, I thought about just making my entire day out of that movie, but that would be cheating.
I was perusing other movie blogs, as I do from time to time. And one of my favourites is "Misfortune Cookie", really cool stuff over there. Last week, I was checking it out, and she wrote this cool post on constructing the perfect day, using scenes from movies. This link takes you to the actual post.
I rather enjoyed it, and I figured I'd take a crack at it.
- I'd most likely start the day off recovering from the night before with Russell Hammond of Stillwater in Almost Famous.
- Then I'd probably grab a cheeseburger from Big Kahuna Burger, the cornerstone of any nutritious breakfast, like in Pulp Fiction.
- After breakfast, I'd probably want to pick up some new records. First I'd head to High Fidelity's Championship Vinyl, and try to trade barbs with Rob, Dick and Barry. Then I'd cruise over to Empire Records for "Rex Manning Day." Say no more, mon amour.
- For lunch, I'd have to do Chotchkie's, the favourite coffee spot for Office Space's Peter, Michael and Samir.
- I'd probably take a trip to the convention center, see if they've got a comic book convention going on, like in Chasing Amy.
- I of course can't make it through the day without taking in a Sonny Chiba flick or two, hook up with my good buddy Clarence Worely from True Romance.
- Dinner at American Psycho's Dorsia with some co-workers, but only if we have reservations.
- In the late evening I'd probably go bowling for a game or two with The Dude, Walt and Donny from The Big Lebowski. Of course, I'd make sure not to step over the line.
- I'd spend the rest of the night chillin' on the football field with the Robert E. Lee Class of '77 out of Dazed and Confused. When I first conceptualized this list, I thought about just making my entire day out of that movie, but that would be cheating.
Thursday, July 17, 2008
Watchmen Trailer
Brodie Fanns!
The trailer for the cinematic adaptation for the single greatest graphic novel ever written is finally upon us. It will play before The Dark Knight. So I can't wait to see it on the big screen. But here is a damn fine quality video of it.
Get Geeky Brodie-Maniacs. It's Watchmen.
I'm also going to post the URL, just in case the video doesn't play.
http://www.traileraddict.com/trailer/watchmen/trailer
- Brodie Mann
The trailer for the cinematic adaptation for the single greatest graphic novel ever written is finally upon us. It will play before The Dark Knight. So I can't wait to see it on the big screen. But here is a damn fine quality video of it.
Get Geeky Brodie-Maniacs. It's Watchmen.
I'm also going to post the URL, just in case the video doesn't play.
http://www.traileraddict.com/trailer/watchmen/trailer
- Brodie Mann
Tuesday, July 15, 2008
Hellboy II: The Golden Army
Hellboy II: The Golden Army
4.5 Stars
Hellboy II: The Golden Army is one of those niche films based on a niche comic book directed by a niche director. By all accounts, it shouldn't do well with mainstream audiences. But it's just too damn good to not do well. I think because director Guillermo del Toro is just too damn bizarre to resist.
Hellboy (Ron Pearlman) has his hands full in the newest installment. Not only is firey girlfriend Liz (Selma Blair) demanding more out of the relationship, but an elvish prince is seeking to take world domination away from the humans. By using an unstoppable army. A golden army. Now Hellboy, Liz and Abe Sapien (Doug Jones) must join forces with Johann Krauss (Seth MacFarlane) and the princes sister to prevent the centuries old truce between the two races from being broken.
Hellboy, the character, let's talk about him. Ron Pearlman brings a sarcastic, sardonic, anti-hero attitude to the big red beast, playing the character to perfection. He's a reluctant hero, but he's not as scornful towards the people he saves as they are to him. He understands that he has a job to do, and does it, despite the rejection from the public. And Pearlman exudes that. It's not too many people who would be able to play so well through piles of make-up, but Pearlman is the perfect match for the character.
As an actor, he's able to balance the character's conflicts. He never emphasizes one over the other, as they are all equally important to the story. His internal conflict with who he is and who he could be, his constant arguments with Liz about where their relationship is heading, and his duty to save humanity from the forces of the golden army.
Guillermo del Toro launches himself to the position of greatest modern fantasy director with this film, as if El Laberinto del Fauno didn't already cement that title for him. His ability to create a visual spectacle that leaves you amazed, breathless and hungry for more is unmatched, even against heavyweights Peter Jacksons, Steven Spielberg and George Lucas. del Toro takes fantasy to the extreme, yet keeps it simple. He doesn't rely on the CG like the rest tend to.
The only complaint I really do have is that he tried to cram too much into the film. It's too busy, there's too much going on. He should have dialed it back, especially in the first act. It's such an overload of bizarre creatures, that you're hoping for rest, which you never get.
For a perfect mix of comedy, action and fantasy, it doesn't get any better than Hellboy.
4.5 Stars
Hellboy II: The Golden Army is one of those niche films based on a niche comic book directed by a niche director. By all accounts, it shouldn't do well with mainstream audiences. But it's just too damn good to not do well. I think because director Guillermo del Toro is just too damn bizarre to resist.
Hellboy (Ron Pearlman) has his hands full in the newest installment. Not only is firey girlfriend Liz (Selma Blair) demanding more out of the relationship, but an elvish prince is seeking to take world domination away from the humans. By using an unstoppable army. A golden army. Now Hellboy, Liz and Abe Sapien (Doug Jones) must join forces with Johann Krauss (Seth MacFarlane) and the princes sister to prevent the centuries old truce between the two races from being broken.
Hellboy, the character, let's talk about him. Ron Pearlman brings a sarcastic, sardonic, anti-hero attitude to the big red beast, playing the character to perfection. He's a reluctant hero, but he's not as scornful towards the people he saves as they are to him. He understands that he has a job to do, and does it, despite the rejection from the public. And Pearlman exudes that. It's not too many people who would be able to play so well through piles of make-up, but Pearlman is the perfect match for the character.
As an actor, he's able to balance the character's conflicts. He never emphasizes one over the other, as they are all equally important to the story. His internal conflict with who he is and who he could be, his constant arguments with Liz about where their relationship is heading, and his duty to save humanity from the forces of the golden army.
Guillermo del Toro launches himself to the position of greatest modern fantasy director with this film, as if El Laberinto del Fauno didn't already cement that title for him. His ability to create a visual spectacle that leaves you amazed, breathless and hungry for more is unmatched, even against heavyweights Peter Jacksons, Steven Spielberg and George Lucas. del Toro takes fantasy to the extreme, yet keeps it simple. He doesn't rely on the CG like the rest tend to.
The only complaint I really do have is that he tried to cram too much into the film. It's too busy, there's too much going on. He should have dialed it back, especially in the first act. It's such an overload of bizarre creatures, that you're hoping for rest, which you never get.
For a perfect mix of comedy, action and fantasy, it doesn't get any better than Hellboy.
Wednesday, July 02, 2008
WALL-E
WALL-E
5 Stars
I need to get a star graphic. Oh well. WALL-E is beyond good. It is beyond great. It is, without a doubt, the greatest Pixar film ever. But more than that, it is one of the finest animated films ever.
WALL-E (Waste Allocation Load Lifter-Earth class) is a simple robot, charged with the simple task of cleaning up earth 600 years after humans abandoned it following the global conglomorate Buy N Large's almost eco-decimation of the planet. There were other WALL-E units, but WALL-E is the only one who remains active, and he's developed a quirky personality. He lives alone on the planet, save for a pet cockroach, and the random interesting knick-knacks he finds. To bide his time, he watches an old VHS copy of Hello Dolly!, deciding what he's missing in his life is love. Enter searcher robot EVE, sent by the humans (who live on massive space stations) to find signs of life on Earth. It's the classic story of boy meets girl. Except boy and girl are robots. WALL-E falls in love with EVE, though she's more interested in accomplishing her primary directive, which she does when WALL-E gives her a plant he found (get it, like a flower, awwwww), and then she promptly shuts down, waiting for the transport ship to collect her and her findings. Thus starts and interstellar journey to bring the humans out of their sluggish and completely pampered lives aboard the space stations, but more importantly, one of the greatest love stories ever committed to screen. Involving robots.
I really don't know where to start with this. I haven't had pre-release anticipation for an animated film since 2004's The Incredibles (also Pixar). And I haven't truley been impressed by one since then.
What got me with this one was a bizarrely intriguing story, coupled with fantastic filmmaking. And that, I believe, is the magic of Pixar. Where other animated films try to do a mix of adult content and kid stuff, so there's "something the whole family can enjoy!", Pixar films take the adults, particularly the adults without young kids (like myself), back to when we were kids. It recaptures the magic we all felt when we saw Aladdin go on the magic carpet ride with Jasmine, when Belle and Beast danced in the main ballroom, when Robin outfoxed (pun intended) Prince John, when Pinocchio turned into an ass, when Dumbo flew for the first time and when Prince Charming kissed Snow White to bring her out of her deep slumber. It leaves out the slick pop-culture references and the dubious double entendres the older audiences would understand but the youngens won't.
But mostly, Pixar rewards its audience. And WALL-E is no different. There's payoff. You don't walk away wondering why you just sat through the movie. You walk away glad you were able to get to the theatre to see it.
Director Andrew Stanton (A Bug's Life, Finding Nemo) took a risk in creating what, for all intents and purposes, could be considered a silent film. A silent animated film. The first half hour is nothing but WALL-E, the cockroach, and ultimately EVE. Sure we get snippets of Fred Willard as the CEO of Buy N Large (live action no less) and a few clips of Hello Dolly!, but for the most part, it's a robot and his bug. There's a significant Buster Keaton/Charlie Chaplin feel to the character. To do that sort of thing in a modern "kids" film, takes guts. And Mr. Stanton, you've got 'em.
There's some great political commentary in there, too. About the environment, about mass capitalism, about societal apathy. But all that is obvious to the viewer (except the younger ones, who probably define capitalism as "Washington, D.C."). The thrust of the film, and what is most engaging about the picture is the love story.
We're not looking at two human characters, or personified animals. These are two robots. It's a new kind of love story. And it's played perfectly between the two characters. Stanton kept it simple. He didn't try to overcomplicate it, or make it goofy. It was a love story, and he told it. They just happen to be robots.
But really, and this is the technical portion of the review, the film would have been no where without the fantastic artwork of the Pixar animators. There's a meticulous attention to detail that even in some of the better animated films you don't get. And nothing is without purpose. There's a reason everything that appears on screen, appears on screen. Be it foreshadowing, be it plot advancement, or be it just for laughs (like the Pizza Planet truck, or Hamm the Piggy Bank), it all serves a purpose. Nothing is thrown away.
It is my third 5 star review of the year... and it is the first ever animated film to hold the number one slot in my living list of "Best Film of the Year." And that means in the now 5 years that I've been keeping those lists, this is the first time. Seriously... go see it. You have to. I loved this film.
5 Stars
I need to get a star graphic. Oh well. WALL-E is beyond good. It is beyond great. It is, without a doubt, the greatest Pixar film ever. But more than that, it is one of the finest animated films ever.
WALL-E (Waste Allocation Load Lifter-Earth class) is a simple robot, charged with the simple task of cleaning up earth 600 years after humans abandoned it following the global conglomorate Buy N Large's almost eco-decimation of the planet. There were other WALL-E units, but WALL-E is the only one who remains active, and he's developed a quirky personality. He lives alone on the planet, save for a pet cockroach, and the random interesting knick-knacks he finds. To bide his time, he watches an old VHS copy of Hello Dolly!, deciding what he's missing in his life is love. Enter searcher robot EVE, sent by the humans (who live on massive space stations) to find signs of life on Earth. It's the classic story of boy meets girl. Except boy and girl are robots. WALL-E falls in love with EVE, though she's more interested in accomplishing her primary directive, which she does when WALL-E gives her a plant he found (get it, like a flower, awwwww), and then she promptly shuts down, waiting for the transport ship to collect her and her findings. Thus starts and interstellar journey to bring the humans out of their sluggish and completely pampered lives aboard the space stations, but more importantly, one of the greatest love stories ever committed to screen. Involving robots.
I really don't know where to start with this. I haven't had pre-release anticipation for an animated film since 2004's The Incredibles (also Pixar). And I haven't truley been impressed by one since then.
What got me with this one was a bizarrely intriguing story, coupled with fantastic filmmaking. And that, I believe, is the magic of Pixar. Where other animated films try to do a mix of adult content and kid stuff, so there's "something the whole family can enjoy!", Pixar films take the adults, particularly the adults without young kids (like myself), back to when we were kids. It recaptures the magic we all felt when we saw Aladdin go on the magic carpet ride with Jasmine, when Belle and Beast danced in the main ballroom, when Robin outfoxed (pun intended) Prince John, when Pinocchio turned into an ass, when Dumbo flew for the first time and when Prince Charming kissed Snow White to bring her out of her deep slumber. It leaves out the slick pop-culture references and the dubious double entendres the older audiences would understand but the youngens won't.
But mostly, Pixar rewards its audience. And WALL-E is no different. There's payoff. You don't walk away wondering why you just sat through the movie. You walk away glad you were able to get to the theatre to see it.
Director Andrew Stanton (A Bug's Life, Finding Nemo) took a risk in creating what, for all intents and purposes, could be considered a silent film. A silent animated film. The first half hour is nothing but WALL-E, the cockroach, and ultimately EVE. Sure we get snippets of Fred Willard as the CEO of Buy N Large (live action no less) and a few clips of Hello Dolly!, but for the most part, it's a robot and his bug. There's a significant Buster Keaton/Charlie Chaplin feel to the character. To do that sort of thing in a modern "kids" film, takes guts. And Mr. Stanton, you've got 'em.
There's some great political commentary in there, too. About the environment, about mass capitalism, about societal apathy. But all that is obvious to the viewer (except the younger ones, who probably define capitalism as "Washington, D.C."). The thrust of the film, and what is most engaging about the picture is the love story.
We're not looking at two human characters, or personified animals. These are two robots. It's a new kind of love story. And it's played perfectly between the two characters. Stanton kept it simple. He didn't try to overcomplicate it, or make it goofy. It was a love story, and he told it. They just happen to be robots.
But really, and this is the technical portion of the review, the film would have been no where without the fantastic artwork of the Pixar animators. There's a meticulous attention to detail that even in some of the better animated films you don't get. And nothing is without purpose. There's a reason everything that appears on screen, appears on screen. Be it foreshadowing, be it plot advancement, or be it just for laughs (like the Pizza Planet truck, or Hamm the Piggy Bank), it all serves a purpose. Nothing is thrown away.
It is my third 5 star review of the year... and it is the first ever animated film to hold the number one slot in my living list of "Best Film of the Year." And that means in the now 5 years that I've been keeping those lists, this is the first time. Seriously... go see it. You have to. I loved this film.
Wanted
Wanted
4 Stars
Action movies, let's talk about 'em. They got goofy and campy in the 80's... then Die Hard came along and redefined the genre. Then every action movie after that tried to be Die Hard. Then in 1999, The Matrix redefined the genre all over again. Lather, rinse, repeat. Which brings us to 2008. I'm not saying Wanted has redefined or revolutionized the action genre. But it's definitely changed the rules, and has done something pretty damn good.
Scottish star James McAvoy stars as Wesley Gibson, a 20-something nobody working not-so-comfortably as low-rung management at an accounting firm. Barely content that his life means nothing and will go no where, his world almost literally explodes when he is drafted into The Fraternity by Angelina Jolie's Fox. The Fraternity, a secret society of assassins headed by Morgan Freeman's Sloan, wants Wesley to pick up where his father left off before his untimely murder by a defected member of The Fraternity. Why are these assassins so special? Why is Wesley so special? They have heightened senses, which allow them to react to a situation better than a normal person. With his training complete, Wesley must now face an ultimate, life changing conundrum: go after the man who killed his father, or listen to him when he reveals the alterior and sinister motives behind Sloan's bidding.
While it certainly doesn't break any new ground with the plot (lonely guy working in a dead end cubicle job is informed that he's special in many ways and must now use a plethora of guns and some kick ass action sequences to stop the bad guys... aforementioned Matrix say what?) What it does do, is shatter the traditional notions of good guy vs. bad guy in the action genre. Primarily through Wesley. Why is becoming this super-assassin? Is it for the thrill he gets off of his new found talents? Is it to avenge his father's death? Is it because it is what he is told his destiny is, and he's blindly following it? There's a philosophical discussion in the making here, and it's something that hasn't really been explored since The Matrix.
Similar traits have been explored in the plethora of super-hero movies that have been released over the past nine years, but those were traits that were engrained in popular characters long before they were put to the silver screen. While I admitedly have not read the comics this film was based on, there's a bit more legitimacy to it than there is when the guy is donning red and blue spandex. The Wesley character is more tangible because we know who he is, we can see him. He's not wearing a mask, metaphor intended.
McAvoy (Atonement, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe) deserves a lot of that credit. That role could have been played a myriad of ways, but he plays it right. The transformation of frustrated meek to frustrated strong. It doesn't seem like a stretch for him or the character, and it's certainly not as offensive to the audience as the three hour long GAP ad that was Spider-Man 3. There's a natural flow to his progression as a character, and I don't mind the obligatory sequel set-up at the end.
What I liked most about Freeman (oh come on, if you don't know who Morgan Freeman is, you have no business reading my blog), is that not only is the character a sharp contrast of his usual character-type, but it's a particular opposition to the character we'll be seeing in two weeks with the release of The Dark Knight. He's stepping out of character, which is good. Not to say he's the villain, far from it. But there's more depth, I suppose, to his leader role. There's doubt. There's mystery. There's skepticism. You never quite take your eye off of him. The fact that it's Morgan Freeman doesn't lull you into a false sense of security. To the credit of Freeman, he doesn't let his personality take over the role.
And then there's Jolie. Damn is she hot. I mean, yeah, good actress, miles of talent on that one. But DAMN! Enough of me being a guy... She's a good actress, done some really great work. While you could tell she had fun with this role, there always seemed to be a slight hint of boredom on her face. Could have been a character trait for Fox. But I couldn't tell.
I have to give props to director Timur Bekmambetov (if you know who this guy is, then you get a free pass to my blog for life). I was unsure of how he would make the move to doing a mainstream American film. He gained some notice State-side a few years back for his decidedly Russian Night Watch franchise. But I wasn't overly impressed. They were alright, but nothing to write home about. That's always kind of a shakey deal, when someone from a vastly different cinematic community (particularly one as diverse, storied and different like the Eastern European/Western Asian community) tries to break it elsewhere. Very few Bollywood and East Asian directors have been able to do it (face it, Ang Lee's American stuff sucks, as does John Woo's). But having seen Night Watch, I can tell that he didn't compromise his voice to the studio, and that's something you have to respect in a director helming such a high profile, tent-pole of a film. Thumbs up, Timur. I don't know what that means in Kazakhstan, if it's a good thing, or if I just insulted your mother or whatever. But here... means good stuff. Keep your eye on this kid.
So Wanted unfortunately doesn't break new ground in the genre, but it definitely stirs the pot a bit. And that's what you've gotta do every so often... stir the pot. And it was thouroughly enjoyable.
4 Stars
Action movies, let's talk about 'em. They got goofy and campy in the 80's... then Die Hard came along and redefined the genre. Then every action movie after that tried to be Die Hard. Then in 1999, The Matrix redefined the genre all over again. Lather, rinse, repeat. Which brings us to 2008. I'm not saying Wanted has redefined or revolutionized the action genre. But it's definitely changed the rules, and has done something pretty damn good.
Scottish star James McAvoy stars as Wesley Gibson, a 20-something nobody working not-so-comfortably as low-rung management at an accounting firm. Barely content that his life means nothing and will go no where, his world almost literally explodes when he is drafted into The Fraternity by Angelina Jolie's Fox. The Fraternity, a secret society of assassins headed by Morgan Freeman's Sloan, wants Wesley to pick up where his father left off before his untimely murder by a defected member of The Fraternity. Why are these assassins so special? Why is Wesley so special? They have heightened senses, which allow them to react to a situation better than a normal person. With his training complete, Wesley must now face an ultimate, life changing conundrum: go after the man who killed his father, or listen to him when he reveals the alterior and sinister motives behind Sloan's bidding.
While it certainly doesn't break any new ground with the plot (lonely guy working in a dead end cubicle job is informed that he's special in many ways and must now use a plethora of guns and some kick ass action sequences to stop the bad guys... aforementioned Matrix say what?) What it does do, is shatter the traditional notions of good guy vs. bad guy in the action genre. Primarily through Wesley. Why is becoming this super-assassin? Is it for the thrill he gets off of his new found talents? Is it to avenge his father's death? Is it because it is what he is told his destiny is, and he's blindly following it? There's a philosophical discussion in the making here, and it's something that hasn't really been explored since The Matrix.
Similar traits have been explored in the plethora of super-hero movies that have been released over the past nine years, but those were traits that were engrained in popular characters long before they were put to the silver screen. While I admitedly have not read the comics this film was based on, there's a bit more legitimacy to it than there is when the guy is donning red and blue spandex. The Wesley character is more tangible because we know who he is, we can see him. He's not wearing a mask, metaphor intended.
McAvoy (Atonement, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe) deserves a lot of that credit. That role could have been played a myriad of ways, but he plays it right. The transformation of frustrated meek to frustrated strong. It doesn't seem like a stretch for him or the character, and it's certainly not as offensive to the audience as the three hour long GAP ad that was Spider-Man 3. There's a natural flow to his progression as a character, and I don't mind the obligatory sequel set-up at the end.
What I liked most about Freeman (oh come on, if you don't know who Morgan Freeman is, you have no business reading my blog), is that not only is the character a sharp contrast of his usual character-type, but it's a particular opposition to the character we'll be seeing in two weeks with the release of The Dark Knight. He's stepping out of character, which is good. Not to say he's the villain, far from it. But there's more depth, I suppose, to his leader role. There's doubt. There's mystery. There's skepticism. You never quite take your eye off of him. The fact that it's Morgan Freeman doesn't lull you into a false sense of security. To the credit of Freeman, he doesn't let his personality take over the role.
And then there's Jolie. Damn is she hot. I mean, yeah, good actress, miles of talent on that one. But DAMN! Enough of me being a guy... She's a good actress, done some really great work. While you could tell she had fun with this role, there always seemed to be a slight hint of boredom on her face. Could have been a character trait for Fox. But I couldn't tell.
I have to give props to director Timur Bekmambetov (if you know who this guy is, then you get a free pass to my blog for life). I was unsure of how he would make the move to doing a mainstream American film. He gained some notice State-side a few years back for his decidedly Russian Night Watch franchise. But I wasn't overly impressed. They were alright, but nothing to write home about. That's always kind of a shakey deal, when someone from a vastly different cinematic community (particularly one as diverse, storied and different like the Eastern European/Western Asian community) tries to break it elsewhere. Very few Bollywood and East Asian directors have been able to do it (face it, Ang Lee's American stuff sucks, as does John Woo's). But having seen Night Watch, I can tell that he didn't compromise his voice to the studio, and that's something you have to respect in a director helming such a high profile, tent-pole of a film. Thumbs up, Timur. I don't know what that means in Kazakhstan, if it's a good thing, or if I just insulted your mother or whatever. But here... means good stuff. Keep your eye on this kid.
So Wanted unfortunately doesn't break new ground in the genre, but it definitely stirs the pot a bit. And that's what you've gotta do every so often... stir the pot. And it was thouroughly enjoyable.
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