The Bourne Legacy

With the success of the Bourne trilogy behind them, it was inevitable that talk would turn to a forth entry to the series - be it sequel, prequel or remake. Thankfully writer/director Tony Gilroy (writer of the previous three Bourne movies) opted for something different. A sequel of sorts, The Bourne legacy does exactly as it's title suggests - and honors that which came before.

It would've been a mistake to ignore the previous trilogy. In an intelligent move, Gilroy has chosen to dive back in to the world of TREADSTONE/BLACK BRIAR et al and show the consequences of Jason Bournes actions from Identity and Supremacy.
As he did with The Bourne Ultimatum, Gilroy again shows how quickly things can move - with events in Legacy running parallel to that of Ultimatum. Both films have a palpable immediateness to them, with time always a factor for their protagonists.

Legacy focuses on a different agent and a different programme - all be it, still within the halls of American Intelligence. Jeremy Renner plays Aaron Cross, an agent of OUTCAST - a development programme looking to breed super-soldiers for the United States.
Cross is suitably athletic, intelligent and has a grounded yet worldly quality about him - not unlike Bourne. Cross is not without his memory though and consequently the audience is taken on a different journey this time.
From the opening scene we know that Cross is on medication. As soon as he is targeted for extermination, gaining access to his 'CHEMS' proves problematic. Cross finds help in the form of Dr. Marta Shearing (Rachel Weisz) - a developer and student of this new science, not to mention a target herself.
Coming off these particular drugs cold turkey is an unpleasant and dangerous exercise - which leads Cross and Shearing to locate the manufacturing house and keep Cross in the lifestyle to which he's become accustomed.

Renner and Weisz are great together - and for my money, are always very watchable. Along with new-comer Edward Norton, they are supported by many a familiar face - peppered throughout proceedings. Scott Glenn, Albert Finney, David Strathairn and Joan Allen all make appearances - cementing their status as integral cogs in the Bourne machine.

I think this is a great way to approach a sequel. The Bourne Legacy is it's own animal, but feels a part of something larger.
Like Bond before it, I believe the Bourne films could run and run - yet having this linear connection throughout sets it apart and allows the audience to invest in a series of films, rather than just one at a time. In order to successfully do this, it's important that key-players return - from creators to cast and crew.
Having already established himself as a director of note with Michael Clayton, Gilroy again proves he can write and stage dialogue and character-driven moments with ease. With The Bourne Legacy he proves he's no slouch in the action department either.
From time to time Gilroy and his team were nudging the curb of believability for me, but over-all they did succeeded in making the action inventive and visceral. Here's hoping they don't jump the curb and send the franchise flying with any possible follow-up!

Jason Bourne was not forgotten with The Bourne Legacy - and nor should current successor Aaron Cross. Those leaving the theatre with a smile will undoubtedly be thinking, 'TEAM-UP'!

4/5

Poster image courtesy: www.shortlist.com

The Last Boy 'Scott'!

I was shocked and saddened to hear that director Tony Scott had died last weekend. As a tribute to a very talented individual (and inspiration to many), I wanted to take a look at three of my favourite Tony Scott films - from what was a prolific and illustrious career.

Being a self-professed movie fanatic, I tend to revisit movies many times over. In most cases and particularly with more adult fair, there's the opportunity see a movie a fresh (and not as you may have remembered it growing up).
I revisited the Beverly Hills Cop trilogy not long ago. I hadn't seen the third entry (disappointing) and was keen to revisit the first two again.
Tony Scott's sequel is by far the best of the series. One must give props to the original for introducing us to Axel Foley and co - and the film does boast some classic scenes. As an action film however, it's comparatively geriatric!
Having crafted one of the best adrenaline-fuelled classics with Top Gun, Scott injected the series with much needed gusto. Scott was known for his expertise with pacing and generating tension and this is clearly felt.

Interestingly, Scott was somewhat intimidated by Eddie Murphy and the prospect of making a comedy. Coincidentally, the comedy elements serve to keep the tension taught - something Scott would go on to master with the two other films on my list.
Scott's signature visual style is evident, making the movie undeniably his. Too often, slow motion, lens filters and a bombastic editing style are used as a stylistic quick fix. Scott used these techniques to service his movies - putting the emphasis on story and creating mood for his characters to pass through.
The result is a fresh and vibrant action comedy - putting current examples of the genre to shame!

4/5

Literally a day or two before I heard the news of Scott's passing I was quoting the, 'Your wife's so fat...' lines from this classic!
Admittedly it's Shane Blacks script that elevates this particular film, but as Scott would go on to prove time and again, he was the ring-leader that repeatedly gave life to that which was on the page.
The Last Boy Scout was another action-comedy which united Bruce Willis with Damon Wayans as an ex-secret service agent, turned private detective and an ex-football player, respectively. Both wondering where it all went wrong in life, the pair unite to avenge fallen friends and lovers - finding redemption for themselves along the way.

The script was smart and hilarious - and the action came thick and fast! All of Scott's aforementioned techniques were utilised. Again, one needn't see the credits to know who was directing!
Interestingly, both this and the final movie on my list paired Scott with two of the best screenwriters in the business - certainly the two most steeped in popular culture and filmic lore.
Ultimately this made Scott one of the great collaborators. He would go on to help many a young film-maker put their projects out in to the world - with producing partner and brother, Ridley Scott.
The Last Boy Scout stands as a benchmark for action-comedies. If you're one of the few who haven't seen it yet, I must implore you to seek it out. It's endlessly entertaining - and then some!

5/5

True Romance is my favourite Tony Scott film - it's a classic which would certainly be in my top 15!

From beginning to end it's whip-smart, entertaining and creative - and never once veers from it's simple plot. 

Christian Slater and Patricia Arquette (never better) fall instantaneously in love, after one night together. From there, they seek to better their lot in order to remain together forever.

Their get-rich-quick scheme sees them stumble upon a suitcase full of cocaine, which they plan to sell in order to live out their collective dream.

However, the owner of the drugs and his boss (plus a number of other affiliates) have other plans - and intercept the lovers on their quest.

Slater and Arquette carry the film incredibly well - especially considering their support. The film boasts a who's-who of magnificent supporting talent including; Christopher Walken, Gary Oldman and Dennis Hopper.

As with The Last Boy Scout, Scott had another terrific script to work from, this time by Quentin Tarantino. Shane Black may have the edge on wit, but there's no denying Tarantino's superior knowledge of film traits and popular culture.

The scene which stands out for me (and one which has been heralded time and again as a classic) is the interrogation scene between Christopher Walken and Dennis Hopper. This scene is so compelling, one could be forgiven for thinking they're actually in the movie - hiding in that caravan somewhere! The dialogue is great, the actors, pitch-perfect and the mood, chilling. 

It's been said that Walken and Hopper bought more to the scene than what was on the page, finding themselves improvising throughout rehearsal - and bringing more maniacal laughter to the scene. Again, Scott shows what a great collaborator he was here, allowing two master craftsmen to do their thing, immersed in a world he so lovingly created.

5/5

Tony Scott was involved in several projects at the time of his death, with a sequel to Top Gun a likely prospect - which would've been fun! 

There was talk of Scott bringing Nemesis to the screen (the Mark Millar comic, where the villain takes centre stage). This was an obvious pairing - and a project I was hoping would come to fruition. 

Last I heard, directing chores had fallen to Joe Carnahan. Interestingly Scott was producer on Carnahan's last picture, The Grey. 

Whether the ball stays in Carnahan's court is uncertain, however as an obvious successor to Scott (a director of action with his own signature style), he would certainly be at the top of my list.

I could go on and talk about numerous other films Scott directed (Crimson Tide and Man on Fire stand out). Instead I'm going to pop down to my local video shop and sit and enjoy the hell out of his back catalogue!

Illustrated images courtesy: www.sketchesnatched.blogspot.com.au

It's not clear who this guy or girl is, but do check out the site for more of the same - incredible images (yes, I wish I'd done them)!

The Dark Knight Rises

Marginal spoiler alert!

Of the three must-see movies I had on my list for 2012, The Dark Knight Rises had me the most excited. Once the tickets were booked, it was all I could think about! 

Finally the 8:30pm screening came around. The trailers had been and gone (no Superman trailer, unfortunately) - then, in sweet unison, the screen expanded and the lights came down - this was it!

Two hours, forty-five minutes later (I would've happily sat there longer), we were transported back to reality. Applause and cheers filled the theatre - a great time was had by all!

The Dark Knight Rises begins eight years after the events of The Dark Knight. It sees Gotham at peace, having bought in to the story that Harvey Dent was in fact killed by the Batman. As a hunted vigilante, Batman is no longer wanted, nor needed - it seems the police department are handling the criminal element of Gotham just fine.

The city has yet to learn from it's mistakes however. Like many cities the world over, no time or thought has been given to the equality of it's people. The rich are getting richer, with minimal regard given to those on the breadline.

What writers Christopher and Jonathan Nolan, and David S. Goyer have done here (as they did with the previous two films), is to comment on the state of our world at present - giving Batman real-world issues to deal with (fronted by some of the most villainous characters ever). 

We've seen Gotham at threat from both terrorist and economic attack in the past and these same threats spill over in to The Dark Knight Rises. These themes wouldn't look out of place on the 6 o'clock news - and consequently, much of the audience are already invested in the film before they've sat down in the theatre. 

New villain Bane takes centre-stage this time. Those familiar with the comics will know he's not to be trifled with. Those unfamiliar with the comics will, in short shrift, learn the same! Tom Hardy fills the role of Bane, a mercenary with muscles in his spit - with a plan to finish what Ra's Al Ghul started in Batman Begins.

The Dark Knight Rises harks back to Batman Begins more so than The Dark Knight in fact. As is the case with many a trilogy, the protagonist is often inclined to look back at their beginnings in order to see the distance they've travelled. This is a true trilogy in that regard (not in name only, like many a superhero franchise). There was already evidence of Nolans plans for a linear story throughout, when he picked up immediately after Batman Begins with the sequel. Despite the gap in years with this new film, story threads continue, with the likes of Harvey Dents death etc (not a single mention of the Joker, disappointingly).

Everyone else is present and correct of course, from Christian Bale as Bruce Wayne/Batman to Gary Oldman as Commissioner Gordon. There are new faces too, with the likes of Anne Hathaway as Selina Kyle/Catwoman and Joseph Gordon-Levitt as police officer, Blake. All the actors are pitch-perfect in their roles - and despite the expanded cast (there's many a co-star to boot), each character is given an arc, each playing a pivotal role in proceedings.

Nolans approach to the Batman trilogy was to ground his character and supporting cast in reality, asking the question, how would things play out if Batman were real?
Nolan and his team follow this mandate with The Dark Knight Rises and for fans of the comic, there'll be the odd disappointment.
Despite it's comic book beginnings, Nolan isn't prepared to break his own rules, such as life after death (a main staple of the comic-book world), and nor should he.
The (heightened) reality Nolan has created here is the secret to the success of these films. The result has meant a broader audience beyond mere fans of the comic-book - a devoted audience willing to accompany this particular incarnation of Batman through to conclusion.

As is the case with many a Hollywood sequel, there's always the emphasis on bigger and better. Many a sequel goes bigger, but always at the expense of a quality story. Nolans sequel is truly epic, in both story and scale - playing like a western from the 60's.
The Dark Knight Rises never stops moving and is rich with detail. Whether it's one of numerous action sequences or a quieter character moment, each piece builds upon the last to create something truly grandiose.

The Dark Knight Rises proves to be a fitting end to Bruce Wayne's legacy as Batman (or is that Batman's legacy as Bruce Wayne?) - guaranteed there'll be tears and applause at any screening you attend!

It's been said that this is Nolan's last Batman film (I for one would be happy to see him make more). There'll undoubtedly be other Batman films, irrespective of Nolan's involvement. Whether they'll come close to his original and thrilling take on the character remains to be seen?!

5/5

Poster image #1 courtesy: www.empireonline.com
The teaser - and the best use of the Batman logo for this particular campaign.

Poster image #2 courtesy: www.comicbookmovie.com
This is a fan-made poster (my favourite I think). Be sure and check out the artist at: www.ryanluckoo.deviantart.com

Poster image #3 courtesy: www.empireonline.com
By the time this poster was released, I felt the Batman logo had been somewhat over-used. This was one of the few posters to surprise me however - take a closer look at the lipstick mark!

Ted

Finally, 2012 delivers a full-blown comedy to shout about!
It's been a dry year for comedy so far, with two notable exceptions; The Muppets and The Five-year Engagement.
Interestingly Ted shares a great deal with both films. There's the turbulent relationship between boy and girl (a four-year courtship) - and the bizarre, yet touching bromance of boy and fuzzy friend (Ted even boasts a musical number)!
Admittedly, these were the selling points of The Five-year Engagement and The Muppets, respectively - and the demographic they were squarely aimed at lapped them up.
Ted combines these elements, but with a greater focus on laughs (something many comedies have been sorely missing of late)!

Ted is aimed at another audience altogether - particularly any male born in the late 70's/early 80's! Those with a questionable interest in popular culture and a fondness for nostalgia. Not unlike creator Seth MacFarlane, or Ted's hetero life-mate John Bennett, played by Mark Wahlberg.
Fans of Family Guy will be familiar with MacFarlane and his particular brand of comedy (foul-mouthed in the extreme)! Ted shares similar traits to Family Guy, both in it's profanity-driven script and in it's use of cut-aways as punchline to many a joke. Referencing all manner of media, particularly that of the 80's and 90's, it's a fabulous technique that MacFarlane has made his own.

During the Christmas of 1985, a young John Bennett makes a wish that his newly acquired teddy bear (Ted) be real - and miracle of miracles, his wish comes true! Cut to present day and John (Wahlberg) and Ted are still living together, but have yet to shed their adolescent mannerisms.

Having already earnt his comic stripes with the likes of I Heart Huckabees and The Other Guys, Wahlberg proves a smart choice for John. His timing and delivery is spot on - especially with some of the more outrageous dialogue. He exudes charm as the romantic lead (a no-brainer for the ladies)! He's also the very best at displaying adolescent heartache and panic - sympathising with this man is certainly no reach for the audience.
As a main staple of That 70's Show and Family Guy, Mila Kunis could be considered a veteran of comedy. Obviously her age and looks would contradict that statement! She is delightful and gorgeous as Johns romantic interest, Lori (a no-brainer for the guys)!


Seth MacFarlane plays Ted, using motion capture techniques - similar to that of Gollum and the aliens of Avatar. In order to create a fluidity to the piece, where by all three actors could improvise and react accordingly, MacFarlane was on set riffing with his co-stars, using specially designed equipment. Witnessing this seamless effect, it's still hard to fully comprehend how it was achieved (was MacFarlane sitting cross-legged the whole time, or were his movements miniaturised)? 
The fact that it keeps the audience guessing is what makes it a great effect. The creation of Ted is one of the best visual effects of this year (or any) - who would have thought this of a comedy, by a first-time feature director?!


Ted is a hilarious film and a significant achievement. There is a story of course. Some nonsense about men having to grow up and put childish things away! But who needs that when you can, 'kick back, drink some beers and smoke some weed!'


4/5


Poster image courtesy: www.screenrant.com

The Amazing Spider-man

As readers of my blog will know, anything comic-related will more often than not get the thumbs up from me! The Amazing Spider-man is no exception!
I'm a big fan of the previous Spider-man films and believe the first two to be amongst the very best comic-book adaptations. The third film didn't quite live up to expectation, but as is the case with many a comic-book property, should a further feature be given the green light, there'll always be a rich history to mine from.

For a while, there was talk of a forth and fifth Spider-man movie, to follow Sam Raimis trilogy - to be made back-to-back. James Vanderbilt was attached to write this opus - and interestingly he receives a story and screenplay credit here (along with Alvin Sargent and Steve Cloves).
What was originally conceived as a sequel is undoubtedly what we're getting here. What we also get is a somewhat redundant re-telling of the Spider-man origin!

For whatever reason, the studio behind Spider-man decided to return Peter Parker to high-school and consequently, retell the story of his transformation in to Spider-man. Skewing younger, they recast their principle characters with the likes of Andrew Garfield (as Peter) and Emma Stone (as Gwen Stacy). They even went with a new director in the appropriately named, Marc Webb!
Along with his superhero origin, we also get a glimpse at Peters early childhood. We're introduced to his parents and learn of their mysterious disappearance.
Dr Curt Connors, who we first saw lecture Peter in Spider-man 2, is given a meatier part to play here. Rhys Ifans fills the role this time and he holds many answers for Peter - concerning both the disappearance of his parents and that of his new-found arachnid abilities.

Along with a great supporting cast and crew, this team have made a very fine film!
Andrew Garfield is superb as Peter, approaching the duel roles of adolescent and hero very differently to that of Toby Maguire. Garfields approach is that of a Modern-age character, grounded in reality - a world away from Maguires Golden-age incarnation. It's a wise decision and it pays off magnificently.
Emma Stone is charming as Gwen and it's refreshing to see her character take centre-stage, this time.
Consequently Gwen's dad, Captain Stacy, is given an integral part to play also. Denis Leary balances the act of disapproving dad and responsible police Captain amicably.
The roles of Aunt May and Uncle Ben are filled by Sally Field and Martin Sheen. Two luminaries of the silver-screen, who portray their respective characters with warmth and humility - and do so effortlessly!
The visual effects are very impressive also. No doubt advances have been made since the previous films, however the success of that trilogy would've resulted in a clearer understanding of what was required to create such imagery - not to mention the box office returns, which would've made any such advances possible. Suffice it to say, Spider-man looks suitably elegant, as he swings through his home town of New York!

Yet despite their best efforts, we're only really given half of the 'untold story' here. No doubt the sequel will take steps to deliver on this promise. It certainly feels like the beginnings of a larger story - one can only hope!
The Amazing Spider-man is a good film I would happily recommend - particularly to those that missed the original!

4/5

Poster image courtesy: www.empireonline.com

The Cabin in the Woods

Initially due for release in 2010, The Cabin in the Woods finally gets a release in Melbourne - all be it, an exclusive run at the Nova cinema in Carlton(seemingly one of the few cinemas willing to give lesser films a shot at a theatrical run)?!
The Cabin in the Woods is no indie/art-house film however, and would in fact be ripe for a general release. It's been made by two genre giants in Joss Whedon and Drew Goddard. It's a horror/comedy(with meta infused DNA). And it stars current god of thunder, Chris Hemsworth. All the ingredients are there for profitable box office returns - and what's more, it delivers!!
The reason for the films long trip to 'theatre' is a consequence of MGM's bankruptcy problems in 2010. Many films suffered, including the new Bond and Hobbit productions, which have all since recovered. Lionsgate were the ones to throw 'Cabin' the proverbial rope and they're currently distributing the movie(on these shores at least).

The film tells the age-old story of five promiscuous teenagers, who venture to a secluded getaway one weekend(the cabin from the title). All the clichés are present and correct, but not without reason. Like 'Scream' before it, 'Cabin' plays on the expectations of it's audience. While some characters follow one another blindly into the clutches of evil, others are more astute - fluent in their genre surroundings.
We soon discover we're not the only voyeurs on this journey. A team of every-man scientists are hard at work, recording and monitoring each cabin resident, as they set about enjoying their weekend away.
It's quite unusual witnessing these scientists go about their daily routine, while they in turn study the teenagers in the cabin. It works magnificently - adding yet another dynamic to the horror genre.
It's a simple yet effective technique which comes as no surprise, when you consider the talent both in front and behind the camera.

The cast are all very convincing(as teenagers in their twenties), with Hemsworth the most recognizable. The stand-out performances however, must fall to the two lead scientists. Bradley Whitford and Richard Jenkins are absolutely superb in the roles of Hadley and Sitterson, respectively. They joke and jibe with one another, treating the most outrageous scenarios of their day-to-day with casual abandon.
Having recently broken box office records with The Avengers, Joss Whedon was already widely known as the creator behind television shows; Buffy, Angel and Firefly(not forgetting Firefly's big brother, Serenity).
Interestingly Drew Goddard worked alongside Whedon on both Buffy and Angel, before graduating to Alias and Lost. Formerly a writer and producer on these shows, Goddard made the move to features, writing Cloverfield. The Cabin in the Woods is his first film as both co-writer and director.

To say any more about the film would be to spoil it, however those familiar with these creators will have a good idea what to expect. Never sure which direction their ride will take you, you'll be shocked, surprised and giddy with laughter by the time the end credits roll. The Cabin in the Woods is a wholly original take on the horror genre. It's endlessly entertaining, witty and engaging - leaving the audience to ponder on previous cabin occupants?!

4/5

Poster image courtesy: www.mondoarchive.com

Prometheus

Along with The Avengers and Batman, Prometheus was(is) at the top of my must-see list for 2012. I've seen it twice(as I have The Avengers), and am happy to report that this wasn't a result of technical faults(it's mostly 'cause I film-cheated on my wife and saw it before her)! I'm also happy to report that I enjoyed Prometheus even more the second time!
I don't think I'm spoiling anything when I say Prometheus has some links to the Alien franchise? The proverbial face-hugger was let out the egg when the first trailer premièred some weeks back - and the Giger-inspired designs were there for all to see!
In the directors chair sits Ridley Scott, the man responsible for the very first Alien film. Scott had much to live up to, yet a considerable amount of confidence had been bestowed upon him, based on his phenomenal out-put since Alien in 1979.
Save for the first trailer, I made a concerted effort to avoid any further trailers or tv spots for Prometheus. As excited as I am to see all these movies, I'm getting a little tired of being exposed to them in their entirety, in under 3 minutes! I know it's show-BUSINESS, but surely trailers are there to tempt and to tease audiences, not potentially turn them away? Anyway, I believe not seeing or reading anything prior to it's release, made Prometheus a far-more entertaining affair - rant over!
The film begins with stunning arial shots of primordial-like landscapes, devoid of any life. This sequence alone makes any doubt in Scott to deliver, simply disappear. The cinematography is breathtaking throughout - this is certainly a movie to see on the big screen, and rewards those who see the value in continuing to go to the 'pictures'.
The visual elements of this movie are certainly the stars - from the design and physical manufacture of everything to the special effects and afore-mentioned photography - this film will stay with you for these reasons alone.
The film has a pretty great cast to boast about also. Noomi Rapace is convincingly sympathetic in the role of Elizabeth Shaw, a scientist with untapped survival instincts. Michael Fassbender excels in the role of David, the android. Charlize Theron and Idris Elba are also strong, as Meredith Vickers and Janek, respectively - two employees of Weyland Industries, one more directly than the other. The supporting cast are solid throughout. Too many to mention here - 17 crew in total.
Shaw and her partner Holloway(Logan Marshall-Green) discover a repeating image in ancient human hieroglyphs, which are known to have existed independently of one another - by hundreds of years in some cases. The two scientists are convinced that this image holds some credence to the existence of extraterrestrial life - and consequently the origins of human existence. The image shows a constellation similar to Earths solar system - one that could potentially sustain life. The scientists find this constellation, and the crew and ship Prometheus are tasked with finding it and potentially making contact - a meet and greet, if you will!
Ok, first things first, Prometheus is not an Alien film. It shares it's timeline and takes place in the same universe, but is not part of the same story. Ridley Scott and his team have made a very different movie with Prometheus - and have taken pains to emphasise so.
The plot for example, asks many questions about where we came from - and consequently challenges are beliefs in both religion and evolution. It comments on human existence and our curious nature. As we continue to question our origins and where we came from, we rarely think to question our legacy, as slowly but surely we get lost in technology and our delusions of grandeur.
Despite these deeper themes, there is still much fun to be had - in what is essentially a thriller. After the teen-friendly Predators and Alien vs Predator movies, I was happy to find myself horrified once again. Not that Prometheus is any more violent than these movies(if anything it's less), but certainly more psychological - creeping under the skin and staying with you long after the credits have rolled.
I believe the lingering issue most people will have with Prometheus is that it asks about as many questions as it answers. This is no bad thing. This movie breeds discussion and conjecture - no doubt we'll be surmising until a sequel is made. I'm sure there is a larger story to be told here. There's certainly plenty of time to fill between the end of this movie and the first Alien movie. I for one would definitely come back for more - and despite my own curiosity, would be happy for them to leave just a few of these questions unanswered - 4/5!