One Chance

Posted in Biography, Comedy, Drama with tags on October 19, 2014 by Mark Hobin

One Chance photo starrating-2andahalfstars.jpgHis tale reads like the most clichéd underdog success story you‘ve ever heard. Paul Potts was a mere mobile-phone salesman who ultimately went on to win the first season of Britain’s Got Talent back in June of 2007. He was a shy, unassuming man in his mid-30s with a decidedly un-glamorous appearance. Yet he fought his own insecurities to win over audiences and the judges alike with his astounding ability to sing opera. Paul became the stuff of legend in Britain. In the U.S. he remained largely an unknown. However his “from nobody to somebody” saga would be repeated during the third season by another contestant. This time with the similarly plain but spectacularly gifted Susan Boyle who would take the competition by storm in 2009.

Note: Boyle did not win but became the runner-up in Season 3. Yet she ironically achieved more success in the U.S. than actual Season 1 winner Paul Potts.

Paul Potts’ saga is nothing new, but these accounts of fame do captivate the heart on some level. David Frankel (The Devil Wears Prada, Marley & Me) lays on the schmaltz and the narrative hits all the beats you expect a soap opera collage to hit. Perhaps screenwriter Justin Rackham (The Bucket List, The Big Wedding) is a bit to blame as well. You want to take him to task for fabricating such a rote story from Paul Potts’ rise to fame. There is very little here to set this apart from the 2 minute bio you get on these singing competitions in their recorded segment. In this case they’ve optimistically expanded that human interest story to a feature length 103 minutes. Where the chronicle sets itself apart is in its handling of the relationship with his girlfriend Julie-Ann (Alexandra Roach) whom he calls Julz. After flirting online, the two finally decide to meet. Their awkward chemistry is warm and appealing. They complement each other and it’s nice to see a relationship between two people that don’t look like Hollywood actors after having visited a stylist.

One Chance is pleasant, but it isn’t innovative enough to make this different from a dozen other rags to riches stories you’ve already seen fifty times before. The story really botches the ending too. The fact that Paul succeeded is already a foregone conclusion so the inevitable climax simply becomes a waiting game for Paul’s TV triumph. Actor James Corden plays the lead character with a lot of humanity. The comic is set to take over Craig Ferguson’s place on The Late Late Show in 2015. Corden ably lip- syncs while the real Paul Potts supplies the vocals. That all works. But then actual judging panel footage from the Britain’s Got Talent TV show is used, Simon Cowell, Amanda Holden and Piers Morgan’s historic responses are intercut with footage of actor Corden reacting to their evaluations. The assembled editing is not organic. The pastiche drains the moment of the drama of Paul intenerating with real people. If this were the only problem, I might’ve forgiven the misstep. The problem is this is merely the icing of an issue on a very uninspired cake.

10-12-14

Maps to the Stars

Posted in Comedy, Drama on October 14, 2014 by Mark Hobin

Maps to the Stars photo starrating-2stars.jpgIn theory, Maps to the Stars wants to be a savage satire on Hollywood as seen through the eyes of the Weiss family. Our story begins with Jerome Fontana (Robert Pattinson), a chauffeur. Like everyone in this city, he’s actually a struggling actor writing a screenplay. At the start he picks up Agatha (Mia Wasikowska) who has hired him to drive her. She is newly arrived to Tinseltown and eager to start a new life. Her relationship to the rest of the ensemble is a bit of a mystery. She ultimately gets hired by Havana Segrand (Julianne Moore), a waning superstar.  Havana is a woman fiercely seeking a role in the remake of her mother’s 1960 movie Stolen Waters. Clarice Taggart (Sarah Gadon) was an iconic actress who died tragically in a fire. She now appears as a ghost apparently only to torment her daughter. John Cusack is Dr. Stafford Weiss – Havana’s new age therapist. He’s father to Benjie, a child celebrity and a recovering drug addict. Benjie got famous from a popular film franchise called Bad Babysitter. Cristina Weiss (Olivia Williams ) is his exploitative mother who enables his bad behavior.

There’s something a little off kilter about this tale – and not in a good way. For a comedy-drama set amongst the politics of La la Land, the ambiance is surprisingly lethargic. The picture occasionally makes an impression.  When Havana’s lucky break comes at the expense of her colleague’s son drowning, she belts out “Na Na Hey Hey Kiss Him Goodbye”.   But the milieu never quite feels like The Entertainment Capital of the World.  Anyone who has witnessed reality TV train wrecks like The Anna Nicole Show (2002–2004) or Whitney Houston’s behavior on Being Bobby Brown (2005) will get a better window into the perils of fame.  Just 30 minutes of those reality series are more savage attacks on Hollywood excess than anything in this script.  The production notes tell us this is director David Cronenberg’s first film shot in the U.S. but his overwhelming reliance on interior shots have the prefabricated feel of a Toronto soundstage. There’s a noticeable lack of stars playing themselves in this land too.  Carrie Fisher pops up briefly to give the dialogue some much needed levity that doesn‘t rely on vulgar discourse. We find out the Star Wars actress became friends with Agatha on Twitter. That could be a joke. It’s hard to tell.

David Cronenberg satirizes those washed-up starlets that want to remain relevant at any cost. It’s easy to see Julianne Moore as sort of a amalgamation of former stars like Lindsay Lohan or Kim Richards. The authenticity of her performance is never a question. She portrays this fading actress like a woman who has already lived the experience.  Moore is brave, but at times the determination to shock the audience reeks of desperation. Too often the atmosphere devolves into crudeness without purpose. The offenses are many. Julianne Moore’s big moment occurs while sitting on the toilet. Her demand to her PA for laxatives augmented by sound effects. Incest is a recurring theme. At one point, Havana’s dead mother takes the place of the other woman in her ménage à trois.  When Dr. Stafford started punching Agatha on the floor of his meticulously decorated living room, I could’ve sworn I saw that same scene in Mommie Dearest. I get it. In Hollywood, everyone is a mess. Unfortunately so is this production.

10-14-14

Alexander and the Terrible, Horrible, No Good, Very Bad Day

Posted in Comedy, Family with tags on October 12, 2014 by Mark Hobin

Alexander and the Terrible, Horrible, No Good, Very Bad Day photo starrating-3stars.jpgYou got to give the producers of Alexander and the Terrible, Horrible, No Good, Very Bad Day points for chutzpah. They took a 32 page picture book about nothing more than a boy who has a bad day and stretched it into a feature film. Its moral? Life is full of unfortunate events. First published in 1972, the title has since sold over four million copies. It’s safe to say it’s now considered a literary classic, but I hold the work in less enthusiastic regard. The Alexander of the text is a sulking brat that pouts from life’s drawbacks with which he is beset. These include: no prize in his cereal box, not getting a window seat in the car and a teacher that doesn’t fawn over his drawing of an invisible castle. He turned in a blank piece of paper for goodness sakes!

Thankfully screenwriter Rob Lieber has significantly expanded on the book’s flimsy premise. For one, the pitfalls that Alexander encounters really are things to justifiably get upset over. For instance, all of his friends are skipping his birthday for a more popular student’s party. That’s legitimately painful. To add insult to injury, everyone else in his family is living a charmed life of perfection. So much so that they seem oblivious to his woes. After having a particularly horrendous day, he retreats to his bedroom with a cupcake. Tomorrow is his birthday. On lighted candle, he wishes that his family could understand his plight by also having a bad day like him. Any bets on whether he’ll get his wish?

Alexander and the Terrible, Horrible, No Good, Very Bad Day is a pleasant comedy that earns its laughs from slapdash shenanigans. This is comedy at its most basic form. I’m surprised no one actually slipped on a banana peel or threw a pie in someone’s face. Bad things happening to people has been the basis for many comedies: The Out of Towners, Home Alone, etc. The cast gamely registers discomfort in awkward situations with amusing results. Steve Carell and Jennifer Garner embellish this production with star power as the parents. Even Dick Van Dyke shows up in a funny bit playing himself. Let’s be realistic. The repetitive screenplay would be more at home as a made for TV movie on the Disney channel than as a cinematic event. There’s certainly nothing wrong with that. I mean High School Musical captivated millions. I had pretty low expectations given the source book and they were exceeded. This is a decent picture that entertains just enough to make it passable time filler. It’s fast paced and breezes by in a scant 80 minutes. If you’ve got little ones to entertain, this should fit the bill.

10-11-14

Pride

Posted in Comedy, Drama with tags on October 8, 2014 by Mark Hobin

Pride photo starrating-4stars.jpg“The enemy of my enemy is my friend” is an old proverb that can be traced back to a concept that has been around since at least the 4th century BC. The sentiment is particularly apropos with Pride, a feel-good drama about a group of gay and lesbian activists who join forces with the miners during the lengthy Mineworkers strike that began in the summer of 1984.

But first a little history. Our tale is set in the UK during the Margaret Thatcher era government.  The conservative Prime Minister was intent on free market reform at the expense of unions. Rising tensions between the two sides was exacerbated when the administration announced on March 6,1984 their intention to close 20 coal mines or “pits“. The British coal industry ultimately decided to strike led by the National Union of Mineworkers. The government subsequently seized all union funds, making official donations to the NUM impossible. The necessity for a more grassroots campaign was required. Sensing a common threat, an alliance of lesbians and gay men (LGSM) rose up to raise money to support the striking miners and their families. The NUM was reluctant to receive help from the group and so a faction of London activists decided to take their donations directly to Dulais, a small mining village in Wales. This is their story.

A hand picked ensemble acts this earnest saga with real heart. Mark Ashton (Ben Schnetzer) is a charismatic young lad who galvanizes his reformist friends to back the working class strikers by making a connection between the oppression felt by the miners with that of the gays and lesbians under the current political climate. Imelda Staunton, Bill Nighy and Paddy Considine represent the traditional families in the Welsh mining town. Dominic West, Fay Marsay and George MacKay are the liberal activists in the LGSM (Lesbians and Gays Support the Miners) coalition. These diverse groups are thoughtfully represented by a colorful cast. Everyone makes an impression. Veteran thespians Staunton as a stern but understanding matriarch and Nighy as the miners’ shy treasurer, are especially memorable. Despite a fairly large assemblage of speaking parts, the characters are clearly delineated individuals with unique personalities. There are a lot of plot threads, but the production handles them with interest so each one seems necessary to the overall picture. It makes the implausible accord that actually happened seem like the most logical association in the world. Politics makes strange bedfellows, as they say.

Pride is an uplifting heartfelt film constructed to appeal to the masses in the most entertaining way.  Tony Award-winning director and dramatist Matthew Warchus (God of Carnage) directs from a script by Stephen Beresford. It simplifies in the clearest possible approach to present a feel good tale that effectively manipulates the emotions. By focusing the struggle on a small, but distinct circle of people, the audience can connect to the intimate human drama that played out in the much larger public arena. The lightness of tone when dealing with heavy issues is appreciated. In the process it sidesteps the pitfalls that could’ve made this account preachy or didactic. This might alienate some seeking more hard hitting controversy, but the script fashions a narrative much in the way a powerful sports movie works. It creates a David and Goliath story and invites you to cheer for the underdog.

10-01-14

Gone Girl

Posted in Drama, Mystery, Thriller with tags on October 4, 2014 by Mark Hobin

Gone Girl photo starrating-4andahalfstars.jpgFor those unfamiliar with my reviews. I do NOT reveal spoilers. Never have and I never will. And let me tell you, if ever there was a production that could be ruined by the reveal of pivotal developments, it’s this picture. Rest assured the review that follows will only affirm that there are plot twists that make Gone Girl exceptionally engrossing. What those developments are will remain a mystery. The discovery of those surprises constitute the joy of an exciting thriller.

At its core, Gone Girl is about the union of two people. It concerns Nick and Amy Dunne, a pair who met, courted each other and fell in love. Theirs was a storybook romance. But as any married couple will attest, marriage isn‘t all smooth sailing. Life gets difficult when both Nick and Amy lose their jobs. Then Nick’s mother is diagnosed with cancer. In order to care for his mom, they move from the hustle and bustle of New York City to the sedate existence of Nick’s hometown in North Carthage, Missouri. Relying on Amy’s trust fund, they buy a bar which eats up more of their money than it earns. Nick seeks solace in an affair. He’s the classic example of the philandering husband. Nick is growing increasingly miserable and Amy subsequently fears for her safety. When the tragedy begins, Amy is already gone. We learn this in flashback. For you see, on the day of their fifth wedding anniversary, Nick Dunne returns home to find a smashed coffee table and a missing wife. The police are called in only to discover a perplexing crime scene that solicits more questions than it answers.

Anyone who was living in the U.S. and old enough to remember 2003 will make the connection. One can easily point to the Scott Petersen case as a possible real life inspiration for this chronicle. Scott and Laci were an attractive couple in their late 20s that appeared to be in love. Laci disappeared on December 24, 2002. At first, he was a sympathetic individual. Then he grew seemingly more insensitive. His reluctance to talk to the press fueled a disinterred persona that turned him into a public pariah. His numerous extramarital affairs would later surface. She was eight months pregnant with their unborn child. Scott was charged and ultimately convicted of murdering his wife and their unborn son.

The Gone Girl ensemble mesh like the movement of a precision timepiece. There’s no denying that Ben Affleck is perfectly cast as the lunkheaded doofus of a husband. He’s a douchebag that is more concerned with preserving his own skin than the welfare of his wife. His glib behavior reads as insincere. He maintains he didn’t kill his wife.  The evidence starts to prove otherwise.  The very first line of the film is a voiceover that states he’d like to bash her head in and pick her brain apart to see what secrets come spilling out. As remarkable as he and the rest of the male company are, it’s the women who truly shine in Gone Girl.

Rosamund Pike’s performance as Amy signals the arrival of a star. Until now, she was probably best known as Bond girl Miranda Frost in Die Another Day (2002). Using the pages of her diary, we flash back to a time before her disappearance. She is the central focus of the production. She’s beautiful and so we’re initially drawn to her for superficial reasons. Then we question our own perceptions. She exhibits a bit of the ice queen mentality. She is a complex person that becomes more fascinating the deeper we get into the details. Rosamund embodies Amy as a woman losing her handle on a situation and then regaining it. We feel sorry for her, then we hate her, we sympathize again, then we are disgusted. Back and forth over and over. It’s a dizzying balancing act that makes her an endlessly compelling personality.

I can’t remember the last time I saw a movie with so many formidable women in key roles. Actress Kim Dickens is Detective Rhonda Boney, the person entrusted with investigating the disappearance of Amy. A suspicious cop, her scenes where she interacts with Ben Affleck accentuates an intelligent mastery of control of the situation.  She’s joined by Detective Jim Gilpin (Patrick Fugit) but she’s clearly in charge. Then there’s Margo. Nick’s wise-alecky twin sister whom he affectionately calls Go. A rather sarcastic type, she is brilliantly played by Carrie Coon. As his twin, Margo is 100% devoted to her brother. Perhaps blinded by their familial bond, she believes him implicitly. They are extremely close. So close in fact that their relationship is misrepresented as “twincest” by a flippant news media. Then his infidelity surfaces and her doubt multiplies ten-fold.

At heart Gone Girl is a marriage fable. But this isn’t the fantasy of an idealized romance. It’s the tale of the institution as a prison. A jail that locks two people in a dungeon of souls desiring to break free. The dialogue attempts to present both sides of their failed union. It’s a he said/she said account. If the saga has a failing, it’s that the portrait of their artificial wedded bliss seems to favor Nick’s side to the detriment of Amy. The script raises some red flags. The narrative elucidates his motivations more clearly than hers.  It doesn’t make the drama any less imperative. It’s still a crackerjack thriller.  It also has some salient points to make about the role the scandal obsessed television plays in the presentation of a prefabricated tale of consumption for the masses. Talking head tabloid reporters are epitomized by Sela Ward and Missi Pyle. The latter’s character is amusingly pattered after Nancy Grace. The two actresses are extraordinarily good in minor parts. The lie and the truth are simply ideas that the news manipulates to create a shared perception for the masses. This theme infuses the storyline throughout her entire picture. What initially appears to be important is made irrelevant. What seems insignificant is made crucial. The reality is always deeper than what is readily apparent. Gone Girl highlights this fact. And by doing so, not only entertains, but also educates us in how truth is merely a moldable concept of the modern media age.

10-02-14

The Equalizer

Posted in Action, Crime, Thriller with tags on October 1, 2014 by Mark Hobin

The Equalizer photo starrating-2andahalfstars.jpgThe film adaptation of The Equalizer is a outdated remnant from a bygone era. For starters, the movie is based on an American TV show which debuted way back in the Fall 1985. It ran for four seasons and starred British actor Edward Woodward. However the trappings have more in common with cinematic action hero tropes of the 80s than it does with the less graphic CBS series. The protagonist is a one man army against insurmountable odds. This man possesses a godlike dexterity for fighting. He dismantles the entire East Coast Russian underworld with surprising ease. Stepping into Woodward’s badass shoes is Denzel Washington. Denzel is basically Stallone in Rambo: First Blood Part II or Arnold in Commando. Apparently 1985 was the high point for this sort of thing. Those flicks, like the TV drama, all came out that year.

After a very slow beginning, The Equalizer takes off when a young prostitute named Terri is assaulted by the Russian mobsters who run a human trafficking ring. This gives our lead a reason to, you know like, actually do something. But the way the scenario plays out is by the numbers as well. The plot is so been there, done that. Denzel Washington is Robert McCall, a middle aged retired intelligence officer who helps people in trouble, in particular an underage girl played by Chloë Grace Moretz. Their relationship and McCall’s personality bring to mind Taxi Driver (1976), Léon: The Professional (1994) and even Denzel’s own Man on Fire (2004) at various points in the narrative. It’s hard not to feel director Antoine Fuqua’s effort is cobbled together from the generic story threads of half a dozen other films.

Denzel Washington plays a man of few words. His roles often have a self righteous quality that invests his individuals with an air of moral superiority. He is supposed to register steely resolve but he’s so unexcitable he’s practically catatonic.  After various captives witness his superhuman abilities, they inevitably ask, “Who are you?”  If this was Arnold circa 1985, he’d quip “I’m the Equalizer!” in a thick Austrian accent. But Denzel seems to just quietly ignore the question time and again.  The third time the question is asked, it’s almost comical.  McCall has always meted out harsh justice as a last resort, but by the end, he is simply out for vengeance. The climatic showdown takes place in a Home Depot-like warehouse. He exhibits a cruelly sadistic streak that takes down his enemies in a vigilante revenge fantasy. There’s a way to put someone out of commission efficiently without resorting to sadism but his creative uses for hardware equipment are barbaric. As he preyed upon the villians in the dark, I felt I was watching a slasher film. You know things have gone horribly wrong when you start to feel sorry for the bad guys.

09-28-14

The Boxtrolls

Posted in Adventure, Animation, Comedy with tags on September 28, 2014 by Mark Hobin

The Boxtrolls photo starrating-2andahalfstars.jpgOregon-based Laika Animated Studios is best known for the films Coraline and ParaNorman. Each one is an impressive feature that blends an engaging story with stop-motion artistry. Quite simply, they’re extraordinary works of entertainment. In fact, both were such successes they each made my Top 10 in the respective years they came out. Given that, The Boxtrolls was among my most eagerly anticipated releases of the year. It goes without saying that my expectations were very high. Unfortunately, I’m sorry to report that Laika’s latest offering is a crushing disappointment.

The Boxtrolls are a community of odd creatures that dwell underneath the cobblestone streets of Victorian era Cheesebridge. Legend has vilified them as evil bandits that prey on the town’s most precious resources: their cheeses and their children. The two things are not necessarily listed in order of importance. The Boxtrolls are a curious sort. They wear recycled cardboard boxes the way turtles inhabit their shells and have names designated by the cover of their box. Fish, Wheels, Bucket and Shoe are some examples. I’d be hard pressed to discern the personality of one from another. Their nonsensical babble-speak begs comparison to the Minions from Despicable Me. The Boxtrolls are a sharp contrast from those similar though much more successful critters. I mean those delightful little rapscallions are getting their own movie. One would think these oddballs were meant to be endearing given they inspired the title of this movie. However the Boxtrolls have been relegated to the sidelines in favor of two other human characters.

Laika’s latest is based on Alan Snow’s 2005 book “Here Be Monsters!” but the real protagonists of the film are two human children. Eggs (Isaac Hempstead-Wright) is a boy that, was given to the Boxtrolls to raise. He’s later discovered by Winnie (Elle Fanning), an overbearing young girl that becomes Eggs’ first friend from up above. Apparently she is there to berate him that he’s a human boy and not a troll at all. Ok, you’re technically correct, but seriously, could you please just shut up?  She’s such a killjoy. Their shenanigans didn’t amuse or interest me in the slightest. On the baddie side we have Archibald Snatcher (Ben Kingsley) as the main antagonist. He’s also got three henchman Mr. Trout, Mr. Pickles and Mr. Gristle voiced by Nick Frost, Richard Ayoade and Tracy Morgan. They provide what little humor there is. Mr. Snatcher is out to exterminate every last Boxtroll so that he can become a member of the White Hats, an elite club of cheese aficionados that serve as Cheesebridge’s city council. Yes, he’s essentially advocating genocide with his bizarre Steampunk fashioned metal contraption. Heavy stuff that feels out of place. It’s important to infuse the macabre with some emotion. This doesn’t. Side note: his allergic skin reaction to his beloved cheese is pretty disgusting.

It pains me to say this, but The Boxtrolls is a charmless, tedious bore. The picture attempts to be something that it is not, an American attempt at British humor. Aardman Studios, excels at this. Remember Chicken Run? Of course you do because it was enjoyable fun. The Boxtrolls in contrast has a meandering plot largely devoid of laughs. It’s hampered by stock characters that fail to enchant. The story and the personalities are thoroughly uninvolving. Sadly generic to the core. Despite all that, the technique is gorgeous. Visually the production is a WOW. The beautifully rendered world with remarkable attention to detail, does captivate the senses. It’s easy to forget this is not computer assisted. These puppets have been painstakingly moved one frame at a time. Although the movement is so seamless, I can’t help but question whether some trickery is being employed. Regardless, it looks stunning. The hand drawn closing credits sequence which encapsulates the entire tale, is beautiful too. It’s even accompanied by a lovely cover version of the Pete Seeger hit “Little Boxes” by Portland band Loch Lomond. Additionally a brief post-credits scene highlights the painstaking process of stop motion animation. I suggest sticking around to enjoy it. It’s the most fascinating display in the whole film.

09-25-14

The Disappearance of Eleanor Rigby

Posted in Drama with tags on September 24, 2014 by Mark Hobin

The Disappearance of Eleanor Rigby photo starrating-3stars.jpgA woman strolling along a New York bridge walks out of frame. We hear her climbing up the cyclone fence enclosure. A man in the distance calls out to her and runs to her aid. The next scene she is being rescued out of the water below, cold and wet. An attempted suicide is a dramatic way to get the audience’s attention. This chronicle concerns a couple, once deeply in love, now forever changed by tragedy. The interrelated stories of husband and wife are woven together as they cope with a devastating loss.

The Disappearance of Eleanor Rigby: Them is actually a combined edit of two separate movies, each with the same title: one subtitled Him the other designated Her. They both screened individually at the Toronto International Film Festival in 2013 as works in progress. The third premiered at Cannes earlier this year when it competed for the Prix Un Certain Regard. The story unfolds a bit like a mystery. We know the pair were in love way back when, but what caused their relationship to fall apart isn’t confirmed until roughly halfway through the picture. Then it becomes more about how different people react in a crisis and what our expectations are of that person.

Director Ned Benson has assembled an impressive cast: James McAvoy and Jessica Chastain play our central duo. William Hurt and Isabelle Huppert provide emotional support as Jessica Chastain’s parents. Ciarán Hinds is James McAvoy’s sardonic father. Jess Weixler and Viola Davis display strong bonds as Chastain’s sister and professor respectively. All of them elevate this conventional material into something meaningful.

The Disappearance of Eleanor Rigby is a well acted exercise by a talented ensemble. There are some nice vignettes particularly involving Jessica Chastain that effectively amplify her grief. But the picture often descends into melodrama without scratching below the surface. It’s extremely slow moving too, a melancholy portrait that wallows in depression. There’s not much to hold our attention. Even after two hours, there’s still a number of things left unanswered. Given the paper thin narrative on display, it’s difficult to comprehend that Them is the distilled union of two other films. The Him tale is 89 minutes. The Her version is 100 minutes. Considering the time it took for us to learn what little we did, I cannot even muster up the desire to endure another 189 minutes of this tale.

09-24-14

The Zero Theorem

Posted in Drama, Fantasy, Science Fiction with tags on September 24, 2014 by Mark Hobin

The Zero Theorem photo starrating-2stars.jpgQohen, pronounced Cohen but often referred to as merely Q, is a reclusive mathematical genius working for a company named Mancom. The job requires he labor over a formula that makes zero equal 100%. In this way they hope to prove the reason for human existence: “everything adds up to nothing”. If you haven’t guessed from that, Qohen lives in a future dystopia. It’s a cacophonous society of advertising where talking adverts actually follow you as you walk down the street. Qohen is suffering from his own existential crisis. He’s searching for meaning in a world run by heartless corporations. Christoph Waltz plays a bloke who is a bit off his rocker. The hairless introvert refers to himself as “we” and constantly waits at home for a phone call he believes will give him the answer he needs.

Apparently The Zero Theorem completes a trilogy. Terry Gilliam’s dystopian satires began with 1985’s Brazil and continued on through 1995 with Twelve Monkeys. Similar in spirit, there’s no denying that the production has visually appealing aspects. The atmosphere is incredibly claustrophobic as most of the action takes place in Qohen’s cluttered home, a repurposed cathedral that has been abandoned. Gilliam appoints the room with little details like a collage. Director Gilliam surrounds Waltz with seasoned thespians in supporting roles. Unfortunately the parts are too shallow to make much of an impression. Tilda Swinton ends her succession of phenomenal films with a role that feels like a cheap imitation of her dictatorial character from Snowpiercer. The 2nd half improves with the arrival of newcomer Mélanie Thierry as Bainsley, a seductive femme fatale that could either be his one true love or perhaps just a mere distraction.

Despite my fairly level-headed distillation of the plot, The Zero Theorem has no objective to entertain with a coherent story. It’s a vague rumination of a concept. The lack of specifics makes the disastrous beginning extremely hard to sit through. My consistent thought during the first half: What in the name of Egon Pearson is this movie about?! There are creative features of the society that do captivate. Robin Williams briefly appears on a billboard that promotes “The Church of Batman the Redeemer”. Party-goers dance to music on their own cell phones instead of what’s playing at the party. Terry Gilliam’s world building is impressive. But look past those amusing gags and we’re left with an inkling of an idea unable to support a compelling narrative. It recalls his brilliant Brazil in style but not in substance. The Zero Theorem is a thoroughly uninvolving exercise in abstract thought, and it’s not even a very interesting one at that.

09-23-2014

The Maze Runner

Posted in Action, Adventure, Thriller with tags on September 21, 2014 by Mark Hobin

The Maze Runner photo starrating-2stars.jpgThomas (Dylan O’Brien ) wakes up in a mysterious community of teenaged boys with no recollection of who he is or how he got there. He soon learns he is in The Glade, a habitat surrounded by a massive maze. Every teen (known as a Glader) has been entrusted with an important purpose within the colony, not the least of which is the Runner. These are the people who explore the Maze in an effort to map a way out of the tiny territory in which they are trapped. Complicating matters are large mechanical spider-like creatures they call Grievers which patrol the maze making escape even harder.

With one exception, all the adolescents look like they are on special diets, work out constantly to maintain a lean frame and have less than 15% body fat. I happen to know The Maze Runner was shot in Baton Rouge, LA, but it feels more like that other LA in California. There’s one departure from the standard selections from Central Casting – a chubby boy named Chuck (Blake Cooper) who, with his more unique appearance, becomes the most interesting personality by default. Oh but brace yourself because his story arc is extremely frustrating. The guys appear to represent ethnicities from every corner of the globe, yet all speak with an American accent. Again there’s one deviation, Newt (Thomas Brodie-Sangster) who’s like the second in command. Everyone sports nicely coifed hair and clean casual wear that is tailored to fit perfectly. I wouldn’t have noticed any of this had the drama been more compelling. Sadly when the only narrative is simply “boys vs. mechanical monsters”, your mind tends to deliberate over the peculiarities of the film.

The Maze Runner starts out mildly intriguing. The set up is curious enough that we want to see how things will develop. These youths in the wild get along pretty well for the most part. Everybody seems cool with the distribution of tasks, with sole objections coming from Gally (Will Poulter). It’s a variation of Lord of the Flies minus the commentary that made that novel interesting, the idea that man is inherently barbaric. Unfortunately more substance is sorely needed. As the saga progresses, it doesn’t really develop into anything at all. By the end we’re left with a supremely unsatisfying ending that basically says, this is only the beginning. Stay tuned for the sequel: The Scorch Trials. This adaptation is based on the teen lit bestseller by James Dashner. To the uninitiated, it’s hard to understand how this flimsy plot could sustain an entire book.  In fact, it was so popular he wrote 3 sequels.  Readers that can fill in the many unexplained details, will surely enjoy this more. Not having read the text, the movie could barely hold my attention for part 1, so part 2? Uh no thanks. The thought is anything but a-MAZE-zing.

09-21-14

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