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Written by Matthew Toomey

Created: 16 October 2013

Two very young girls are missing. While their respective families were getting ready for a Thanksgiving dinner, they wandered out onto the street and disappeared without a trace. Detective Loki (Gyllenhaal) is the man responsible for the investigation. He’s not one of those charismatic, razor-sharp cops that we see in television shows. Loki comes across as a tired, unmotivated individual. His hair is unwashed and his constant blinking suggests he’s in desperate need of a good night’s sleep.

He’s the film’s most interesting character and it’s a great performance from Jake Gyllenhaal (Brokeback Mountain, Zodiac). Loki doesn’t fit the mould of your typical “hero”. He likes to keep to himself and isn’t much of a conversationalist. You could even describe him as boring. He’s not perfect either. While he’s doing enough to pass his annual performance appraisal, Loki does make the occasional error in judgement and does struggle to stay motivated.

Can he put the pieces of this puzzle together and solve the case? Well, screenwriter Aaron Guzikowski (Contraband) and director Denis Villeneuve (Incendies) are going to make it as difficult as possible. They’ve put together a two and half hour film with plenty of twists to keep the audience guessing. Some are believable. Others don’t make a lot of sense (and imply gross incompetence on the part of the police force).

One person who should be assisting Detective Loki is Keller Dover (Jackman), the father of the one of the missing girls. Unfortunately, the trauma of the moment has clouded Keller’s sense of right and wrong. He’s already made up his mind about who’s responsible. A strange looking guy by the name of Alex Jones (Dano) was seen close to the house at the time of the girls’ disappearance. The police can’t find any evidence against Alex (they’ve searched his house, his caravan) but Keller remains convinced.

Instead of leaving the investigation to the authorities, Keller decides to take matters into his own hands. He kidnaps Alex Jones and takes him to an abandoned building in a rundown neighbourhood. Suffice to say it’s not for a friendly chat. Keller is going to use torture against Alex until he confesses to the crime and reveals the location of this daughter.

I liked the idea of this “vigilante justice” subplot. It creates greyness. Keller is clearly acting outside the boundaries of the law… but does the end justify the means? Disappointingly, the film doesn’t explore the risks and the consequences strongly enough. It also goes down some silly paths in the second half (without giving too much away) that avoid the tough moral quandaries. We’re left with a drawn-out, unnecessarily complex thriller.

Meh, what do I know? The film took 3^rd prize (as judged by the audience) at the prestigious Toronto Film Festival last month (behind 12 Years A Slave and Philomena) and has comfortably clawed back its $46m budget at the U.S. box-office. My lukewarm opinion leaves me in the minority. Prisoners held my attention but with a little more credibility, this could have been something far more thrilling.

Details

Written by Matthew Toomey

Created: 07 October 2013

It’s hard to fault the pairing of Denzel Washington and Mark Wahlberg. If I’d written an action-based buddy comedy, I’d do everything to make sure my script found its way in front of these two guys. They’re funny, they’re charismatic and they’re cool. Oh, and they’ve also proven themselves as having huge appeal at the box-office.

They’re the strongest part of what is an interesting… but also muddling film from Icelandic director Baltasar Kormákur (Contraband). It’s based on the graphic novels by Steven Grant – a comic book writer who has worked for both Marvel and DC. Grant had carried the idea of 2 Guns for quite some time but it wasn’t until 2006 that the novel was first published by Boom! Studios.

The film begins with Bobby (Washington) and Stigman (Wahlberg) sitting in a traditional American diner in a small town. They’re not talking about news, sport or the weather. They’re talking about pulling off a robbery. The small bank directly across from the diner is rumoured to hold roughly $3 million in cash that has been laundered by an influential Mexican drug dealer. With just an old security guard at the door, it should be pretty straight forward for these two professional thieves. The plan is to be in and out within 5 minutes.

The robbery goes well. In fact, it goes a little too well. The safety deposit boxes contain not just $3 million but rather, $43 million. Despite the huge haul, they still have enough time to pack it all into the back of their Ford Bronco and flee the scene before the cops arrive. No one got hurt. There wasn’t even the need for a car chase.

Obviously, that’s not the end of it (or else it would be a very short film). It turns out Bobby is an undercover Drug Enforcement Agent (DEA) who stole the cash to bring down a major drug cartel. Further, we learn that Stigman is an undercover Naval Intelligence Officer and his superiors want to use the cash to fund the Navy’s secretive operations.

They’re not the only ones fighting over the money. We’ve also got (1) Bobby’s girlfriend (Patton) who works for the DEA, (2) Stigman’s commanding officer (Marsden) who isn’t afraid to act outside of the law, (3) the Mexican drug dealer (Olmos) who is suddenly out of pocket to the tune of $3 million, and (4) a mysterious man (Paxton) who seems to be the owner of the remaining $40 million.

It boils down to a guessing game where you try to work out “who’s playing who?” It’s fun in the sense that instead of having a traditional good versus evil story, this is more of an evil versus evil story. They’re all bad guys… it’s just some are less bad than others. It’s a noticeable point of differentiation from other action films we’ve seen in recent months.

That said, it’s tough to keep up with. There are so many characters and so many permutations that it does get messy. I didn’t know what was going on at times. Thankfully, the amusing dialogue more than compensates. The best scenes involve Washington and Wahlberg arguing and trying to get the better of each other. If you’re a fan of either actor, you’re likely to enjoy this.

Details

Written by Matthew Toomey

Created: 15 October 2013

He was born in Wellington, New Zealand but the name Richard Curtis is now synonymous with British comedies. In the 1980s and early 1990s, he was a writer on two successful television series that are still highly regarded today – Black Adder and Mr. Bean. His focus then shifted to film and in particular, the romantic comedy genre. Curtis’s writing credits include Four Weddings & A Funeral (which earned him an Oscar nomination), Notting Hill, Bridget Jones’s Diary and Love Actually.

About Time is his latest effort and it brings together two likeable leads. Canadian Rachel McAdams is no stranger to romance having appeared in Wedding Crashers, The Notebook and Sherlock Holmes. Irishman Domnhall Gleeson won’t be as well known. He’s the son of Brendan Gleeson (In Bruges, The Guard) and has a history of small supporting roles in films such as True Grit, Anna Karenina and Harry Potter And The Deathly Hallows.

Their respective characters, named Tim and Mary, meet in unusual circumstances. There’s a restaurant in London that operates in complete darkness. You cannot see a thing. You are guided to your table by the waiter and you do your best to take a seat without falling over. So what’s on the menu? Well, since you won’t be able to read it, you’ll just have to wait until you put the food in your mouth. If you like the idea, you’ll be happy to know that such a restaurant actually exists in London (make sure you book ahead at the Dans le noir).

Tim and Mary aren’t there together though. They’re sitting at adjoining tables and by chance, start up a conversation during the middle of their evening. There’s an obvious connection and the pair share a similar sense of humour. The trick is… they don’t know what each other looks like! It’s not until the end of the night, when they leave through the front door and stand on the footpath, that their sense of sight is finally utilised.

A relationship promptly ensues and it’s at this point that I should reveal this film’s important hook – Tim has the ability to travel back in time. He is given the news by his laidback father (Nighy) on his 21^st birthday. There are certain limitations however. Only small events can be changed due to the risks of the “butterfly effect.” Tim’s dad sums it up best – “you can can’t kill Hitler or shag Helen of Troy.”

It’s still a very useful power, as you can imagine. Tim tends to be rather nervous, clumsy and so the ability to slip back in time gives him a “second chance” when things don’t quite go right. This is epitomised by their first sexual encounter which leaves Tim hugely embarrassed. Not too worry. Let’s just try it again. The same goes for an impromptu visit from Mary’s parents where Tim’s foot seems permanently stuck in his mouth.

If you’re prepared to “go along” with the time travel story and not get too picky about specifics, you’re likely to enjoy About Time. There’s a clear, warm-hearted message that comes through during the film’s third act that asks the question – what is your idea of a perfect day? The nervous, insecure Gleeson and the sweet, level-headed McAdams make a nice pair. Bill Nighy (The Boat That Rocked, Hot Fuzz) is also terrific – doing what he does and stealing any scene that he can weave his way into.

Sitting with a healthy 7.6 out of 10 average from the public on the Internet Movie Database, it’s not just me who thinks that About Time is an above average romantic comedy.

You can read my chat with writer-director Richard Curtis by clicking here.

Details

Written by Matthew Toomey

Created: 02 October 2013

When it comes to action films, the recent trend has been towards “more”. There are more booms, more fights, more visual effects, more big name actors, more subplots and yes, more money. It’s like a pissing contest with each director trying to distinguish themselves and give us something that we’ve never seen before.

Mexican Alfonso Cuarón is one of the finest filmmakers working today. Along with such great films as Children Of Men and Harry Potter And The Prisoner Of Azkaban, he’s the man responsible for one of my all-time favourite foreign language films – Y Tu Mamá También – released back in 2001 and featuring an ending that I still can’t shake.

It comes as no surprise to see Cuarón straying away from convention and steering the action genre in a very different direction. Gravity shows how to extract maximum tension from a minimalist story. It runs for just 90 minutes and follows two astronauts, played by Sandra Bullock and George Clooney, who become trapped in space after their shuttle is struck by debris. Stuck 600km above the Earth’s surface with no radio contact, they need to somehow find a way home.

You don’t need to worry about aliens. This isn’t science fiction. These two have to battle something just as difficult – space itself. What do you do when you’ve become detached from the shuttle during a spacewalk and are spinning end over end? How do you stop? There’s no gravity, there’s nothing to cling onto. What do you do when your space craft catches fire and all you have is a single extinguisher? There’s no one else to help you.

Let’s cut to the chase – this is a very good film. It will tap into your fears and leave you rather anxious. There’s a terrific scene where a panicking Sandra Bullock is floating past the spacecraft with her arms outstretched. The stakes couldn’t be any higher. If she can’t grab a hold of something, it’s game over. She’ll drift into space and will never be seen again.

A few moments feel a little too constructed (perhaps trying too hard to create tension) but you’d be hard pressed to find anyone who can fault this film’s incredible visuals. There were several moments where I was asking myself the question – how did Cuarón pull this off? It’s a film that relies heavily on special effects but you can’t tell while watching it. With the help of 3D (handled effectively), you’d think you were hovering alongside these characters with Earth serving as a beautiful backdrop. Should I be praising the cinematographer? Or the visual effects crew?

Given the lack of sound (you won’t be hearing any explosions in space), Gravity uses a strong music score from Steven Price (The World’s End) to compensate and help add to the drama. It’s yet another way that the movie distinguishes itself – it’s an action film that’s almost a silent film!

Do see Gravity. Your friends will be talking about it, trust me.

Details

Written by Matthew Toomey

Created: 07 October 2013

If anything else, Diana highlights the difficulty of creating a biopic centred on someone with whom the public is already very familiar. For starters, you have to offer a new perspective. A simple rehashing of key events isn’t going to cut it. This is where the recent Steve Jobs biopic with Ashton Kutcher suffered. Much of its content could be gathered from a simple internet search. On the flip side, Behind The Candelabra went much further. It opened our eyes to Liberace’s secretive private life and, after being showered with praise, won 11 Primetime Emmy Awards.

It’s also critically important that the film is well researched and based on facts. In the 2004 release, The Prince & Me, a young Danish price (Luke Mably) tried to win the heart of a simple college student from the United States (Julia Stiles). It’s essentially the same premise as Diana but with the genders reversed. A fictional work such as The Prince & Me has a far greater degree of flexibility when it comes to story. You can take it in any direction you like. That same luxury isn’t available with a film like Diana. People want the truth. They don’t want a heavily modified version of events.

To its credit, Diana tries to take us inside a lesser known part of her life. We don’t see the Queen or Prince Charles and there’s only a (unnecessary) fleeting glimpse of William and Harry. The crux of the film focuses on her love affair with a Pakistani heart surgeon by the name of Haznat Khan. The pair met in mid-1995 and remained close until Diana’s death on 31 August 1997 (a date etched it the memory of any Diana fan).

So where did writer Stephen Jeffreys and director Oliver Hirschbiegel (Downfall) garner the details about their relationship? Well, this is where the film’s problems begin. The screenplay is based on Kate Snell’s 2001 novel, Diana: Her Last Love. Khan was a deeply private individual who has never spoken in detail about the time he spent with the late Princess. He told a British newspaper that Snell’s book is based on “hypotheses and gossip”. His thoughts on the film? “There’s no way I am going to go anywhere near it.”

The early scenes show us that Diana (Watts) as an ordinary, kind-hearted woman. We see her cooking in the kitchen, jogging in the park and playing a tune on her piano. She’s gracious to her support staff (giving them the evening off after a long day) and she cares deeply for her two children (while being frustrated at the limited visitation rights being offered by the Palace). It’s not terribly exciting stuff but I was happy to buy into it. I got the message that Diana was a nice gal.

The arrival of Haznat Khan (Andrews) transforms the film into a cheesy soap opera. Diana was attracted by his good looks and the fact “he doesn’t treat me like a Princess.” Khan was attracted for reasons that are never made clear – he’s an unaffectionate guy who keeps his cards close to his chest. Neither wanted to endure the never-ending gaze of the paparazzi and so they kept their relationship a secret. There’s a laughable scene where Diana wears a long brunette wig so that she could hide her identity while they grabbed a drink at a popular jazz club. Really? This happened?

Unfortunately, it gets worse. Diana is portrayed as a deeply insecure individual. After his first encounter with Khan, we see her anxiously sitting on the window sill and waiting for him to call. When the two have a disagreement, we see Diana turning up at his apartment and washing his dishes in an attempt to win back his favour. There’s even a moment where she’d standing on his doorstep in the middle of the night and screaming for forgiveness (oh, and with mascara running down her face). I've seen Nicholas Sparks adaptations that were more credible than this.

When you throw in a few underdeveloped subplots (such as her strange dreams and her equally strange relationship with Dodi Fayed), we’re left with a total package that doesn’t feel right and doesn’t add up to much. I have no issue with a film about Princess Diana… but if someone is going to try it again in the near future, they'll need something with more realism and engagement.