I think we have a new movie cliché. Along with the “hit man called out for one last job” film or the “clean cut cop paired with a manic cop” film, or the “ugly duckling turns into beautiful swan” film (usually by letting her hair down and taking off her glasses) surely we must now add “crime thriller set in Boston” film? Why is every American crime thriller currently set in Boston? The ridiculous accents, Red Sox Hoodies, chats about “the neighbourhood” these are now clichés every bit as tiresome as any other. Welcome to The Town. What’s frustrating is that the film is very well made, very well directed by Ben Affleck and it’s to his credit that he is able to take material this familiar, this well worn, and elevate it into something watchable. With a good script I have no doubt Affleck will direct a really great film. But this isn’t it.
The Town isn’t bad per se, it’s just so painfully unoriginal. Doug MacRay (Affleck) heads a team of bank robbers in Charlestown (or “Chaaaaaaalsetaaaaaan” in Boston vernacular) who, on one particular job, kidnap bank manager Claire Keesey (Rebecca Hall) but let her go unharmed. Upon discovering that she actually lives right in their neighbourhood and they will probably see her every day, Affleck sets about ingratiating himself into her life to find out what she knows about the gang. Can you see where this is going? Of course you can. As they fall in love, FBI Agent John Hamm (still managing to be dapper in that effortless Don Draper way even with three day stubble and shoddy FBI clothes) is hot on their heels, knowing who the gang is and slowly gathering evidence to put them away for good. Present and accounted for are the best friend, the unhinged James Coughlin (Jeremy Renner), the local crime lord (unlikely Pete Postlethwaite with an awesome Northern Irish accent) the Dad behind bars (Chris Cooper) and the drugged up skank causing problems for Affleck. (Blake Lively.) Is “drugged up skank” a politically correct term? Not sure. Anyway, boxes are ticked, scenes arrive with total predictability, the films goes exactly where you expect it to at every point and then it ends.
I’m coming down pretty hard on The Town and, in truth, because I like these kinds of films I was happy to watch it. The hook is that, an enormous percentage of all bank robberies committed in America occur in this small area of Charlestown. But while that's an interesting fact, it doesn't impact the story or the film in any meaningful way. Affleck wants out of the neighbourhood and his world of crime but so has every other protagonist in this kind of film before him. The "why" of it doesn't really matter. As I said above, the fact that it’s as well made as it is only serves to remind that we have been in this territory many, many times before. The various set pieces, opening bank robbery, a car chase through narrow streets and the climactic gun fight, are very well handled, Affleck and his always brilliant director of photograpy Robert Elswitt finding interesting angles to shoot the action from and allowing the audience the space to understand the geography of what’s happening within the frame. But I keep returning to the near total lack of originality. What is in this story that makes it worth telling? A bit of Heat, a bit of Copland, a bit of (God forbid) The Departed, stir well and then serve up The Town. I also found myself with little reason to care about the characters. Will Ben Affleck die? Go to jail? Live happily ever after? Get the girl, not get the girl? I don’t really care. And the script makes that lazy decision to have his best friend a borderline psycho who’s happy to kill. “See? Ben is not as bad as that guy. It’s okay to root for him.”
I have problems with Gone Baby Gone but it’s a much more interesting film. The Town feels like a way for Ben Affleck the director to hone his craft, challenge himself by directing action and plot and he has totally succeeded but, as a film, it’s treading water. It’s now time for him to get a really compelling piece of material and become the serious director he’s threatening to become.
Just please don’t set it in Boston.
6/10
Thursday, 30 September 2010
Tuesday, 21 September 2010
Quickies
I’m going to be offline for a few days so here are a couple of very quick reviews.
THE OTHER GUYS
I’ve come to the conclusion that I like Will Ferrell a lot more than I often like his films. Anchorman is without doubt his best, I have a soft spot for Blades Of Glory, but Talladega Nights, Semi Pro, Step Brothers… they all have funny stuff in them, usually Ferrell is the best thing in them, but the films as a whole are extremely scattershot, often too long and ultimately fall short to varying degrees. And to that list we can now add The Other Guys. What was surprising was how the film ended up being stolen from underneath Will Ferrell’s nose by Michael Keaton who is hilarious as the clichéd “Police Captain” who also happens to work at a bed and mattress superstore. Some very funny moments, definitely enough to make it worth a watch, but, again, scattershot, way too long and in the end probably insufficient.
5.5/10
DEVIL
When the concept is 6 people are trapped in a lift and one of them is the Devil, you really can’t complain about the resulting film. If, in a weird way, it had embraced its own inherent silliness a bit more it may have been quite good. But coming from the mind of M Night Shyamalan there is nothing throwaway or silly here. This is THE DEVIL people!!! And he’s in a lift!!! Thing is, it’s running time is 76 minutes and for that it’s definitely getting extra points. It’s also verging on the enjoyable in a bad way. It doesn’t quite get there, for the most part it’s just bad, and if anyone is fooled by the reveal of which of the elevator’s occupants the Devil ends up being, you should never be allowed inside another cinema ever again.
4.5/10
That’s it for now folks.
THE OTHER GUYS
I’ve come to the conclusion that I like Will Ferrell a lot more than I often like his films. Anchorman is without doubt his best, I have a soft spot for Blades Of Glory, but Talladega Nights, Semi Pro, Step Brothers… they all have funny stuff in them, usually Ferrell is the best thing in them, but the films as a whole are extremely scattershot, often too long and ultimately fall short to varying degrees. And to that list we can now add The Other Guys. What was surprising was how the film ended up being stolen from underneath Will Ferrell’s nose by Michael Keaton who is hilarious as the clichéd “Police Captain” who also happens to work at a bed and mattress superstore. Some very funny moments, definitely enough to make it worth a watch, but, again, scattershot, way too long and in the end probably insufficient.
5.5/10
DEVIL
When the concept is 6 people are trapped in a lift and one of them is the Devil, you really can’t complain about the resulting film. If, in a weird way, it had embraced its own inherent silliness a bit more it may have been quite good. But coming from the mind of M Night Shyamalan there is nothing throwaway or silly here. This is THE DEVIL people!!! And he’s in a lift!!! Thing is, it’s running time is 76 minutes and for that it’s definitely getting extra points. It’s also verging on the enjoyable in a bad way. It doesn’t quite get there, for the most part it’s just bad, and if anyone is fooled by the reveal of which of the elevator’s occupants the Devil ends up being, you should never be allowed inside another cinema ever again.
4.5/10
That’s it for now folks.
Friday, 3 September 2010
The Human Centipede (First Sequence) Review
Sometimes you watch a film and you think, what am I doing here? What am I supposed to be getting from this? In fairness, the story of The Human Centipede (First Sequence) is pretty infamous by now so one could argue that, you know what you’re getting yourself into. But while the shock value of the idea might get you to see the film in the first place, ultimately the film itself needs to deliver something and, for my money, it really doesn’t.
So the story is (and do finish eating before you go any further) that mad scientist Dr. Heiter, who has spent his life separating Siamese twins, has decided that it’s time to do the opposite, i.e. connect people together. Via the digestive system. Ass to mouth. Literally. The unwitting subjects are two young American girls who are travelling across Europe and a young Japanese guy. The Japanese guy forms the head of the “centipede” and the two girls the middle and end. His creation complete, the Doctor goes about trying to train his human centipede, but of course things go wrong.
So let me try and eek out the good here. Given its concept, the film is surprisingly free of gore and viscera. Writer/director Tim Six understands that the idea of this film is enough to give you shivers. He knows that all it takes is the Japanese guy to say “I need a shit” and you will spend the next 5 minutes squirming in the most convulsive, uncomfortable horror as all you’re actually watching is a close up of the poor girl’s eyes. This is the girl who is in the middle I should explain. In case that wasn’t clear. The most effective sequence is when Dr. Heiter has his three subjects tied to their beds in his makeshift surgery in the basement of his house and he explains the details of what he is about to do, severing kneecaps, removing teeth, and literally sewing the three people together. He does this with the kind of matter-of-fact precision that any surgeon would use to explain to their patient the details of their forthcoming procedure and it’s very effective indeed. The point here isn’t torture for torture sake, like, say, Hostel or Saw. This is an experiment, and the fact that the three subjects are anaesthetised as he performs the various surgeries and then wake up in the positions they end up in, adds to the sense of madness and hopelessness and makes it more terrifying as a result. This is a man who knows exactly what he wants to do and is going about it without fuss or hysteria, in the most methodical and efficient way he can. On this point, arguably the greatest horror on display is the horror of humiliation and degradation. Dr. Heiter proceeds to try and train his new creation as if it were a pet, the three people forced to crawl on their hands and knees, eat the food the Doctor throws at them and suffer the consequences when they disobey. Again, it’s interesting to note that this punishment occurs off screen. You hear what is happening and that is more than enough. This is not to say there is no onscreen violence; I defy anyone to watch the tooth extraction without wincing or screaming like a girl and covering their face with a cushion. Not that that’s what I did of course. I merely winced and moved on. But the point is that Six is trying to create horror through ideas and, in a really unique way, this is the problem.
I have no time for violence for violence sake in films, including horror films. The best horror for me is always psychological, always about ideas, and while The Human Centipede eschews gratuitous violence, it is equally possible to assault people with an idea so gratuitous that you have to wonder, in a similar way as you would with the films that place gratuitous violence front and centre, what is the point? What am I to get from all this? The film succeeded in making me squirm at points, making me uncomfortable at points, but to what end? And if there isn’t an end or point greater than the sum of the parts (which, for me, there isn’t) then isn’t that the very definition of gratuitousness? Dieter Laser plays the part very well and what is good is the way he is obviously, in-your-face insane. There is no pretence, no attempt at subversion, he is batshit raving mad from frame one. The downside from a plot perspective is that, from the second the two girls enter his house and are offered a drink of water, you are screaming at them to run. He is CLEARLY up to no good, get the hell out of the house!!! What is also good about his performance is the fact that, it’s not brimming with tics and hysteria. As I said above, cold, methodical and efficient are the best words to describe him and this makes him even more frightening. Cold, methodical and efficient are also good words to describe Tim Six’s directing style and I found myself completely distanced from the subjects’ plight at all times. The ending, in particular the final image, is supposed to resonate and haunt you but I really didn’t care at that point and so it had no effect on me at all.
The Human Centipede (First Sequence) has and will gain notoriety. I like the fact that those seeking the very worst of what this film could have been will be disappointed by it not being as in-your-face as they will have presumably imagined. But in the end the only question I could ask is, what’s the point of it all? And, beyond to shock with a truly skin-crawling idea, I fear the answer is that there isn’t one.
4/10
So the story is (and do finish eating before you go any further) that mad scientist Dr. Heiter, who has spent his life separating Siamese twins, has decided that it’s time to do the opposite, i.e. connect people together. Via the digestive system. Ass to mouth. Literally. The unwitting subjects are two young American girls who are travelling across Europe and a young Japanese guy. The Japanese guy forms the head of the “centipede” and the two girls the middle and end. His creation complete, the Doctor goes about trying to train his human centipede, but of course things go wrong.
So let me try and eek out the good here. Given its concept, the film is surprisingly free of gore and viscera. Writer/director Tim Six understands that the idea of this film is enough to give you shivers. He knows that all it takes is the Japanese guy to say “I need a shit” and you will spend the next 5 minutes squirming in the most convulsive, uncomfortable horror as all you’re actually watching is a close up of the poor girl’s eyes. This is the girl who is in the middle I should explain. In case that wasn’t clear. The most effective sequence is when Dr. Heiter has his three subjects tied to their beds in his makeshift surgery in the basement of his house and he explains the details of what he is about to do, severing kneecaps, removing teeth, and literally sewing the three people together. He does this with the kind of matter-of-fact precision that any surgeon would use to explain to their patient the details of their forthcoming procedure and it’s very effective indeed. The point here isn’t torture for torture sake, like, say, Hostel or Saw. This is an experiment, and the fact that the three subjects are anaesthetised as he performs the various surgeries and then wake up in the positions they end up in, adds to the sense of madness and hopelessness and makes it more terrifying as a result. This is a man who knows exactly what he wants to do and is going about it without fuss or hysteria, in the most methodical and efficient way he can. On this point, arguably the greatest horror on display is the horror of humiliation and degradation. Dr. Heiter proceeds to try and train his new creation as if it were a pet, the three people forced to crawl on their hands and knees, eat the food the Doctor throws at them and suffer the consequences when they disobey. Again, it’s interesting to note that this punishment occurs off screen. You hear what is happening and that is more than enough. This is not to say there is no onscreen violence; I defy anyone to watch the tooth extraction without wincing or screaming like a girl and covering their face with a cushion. Not that that’s what I did of course. I merely winced and moved on. But the point is that Six is trying to create horror through ideas and, in a really unique way, this is the problem.
I have no time for violence for violence sake in films, including horror films. The best horror for me is always psychological, always about ideas, and while The Human Centipede eschews gratuitous violence, it is equally possible to assault people with an idea so gratuitous that you have to wonder, in a similar way as you would with the films that place gratuitous violence front and centre, what is the point? What am I to get from all this? The film succeeded in making me squirm at points, making me uncomfortable at points, but to what end? And if there isn’t an end or point greater than the sum of the parts (which, for me, there isn’t) then isn’t that the very definition of gratuitousness? Dieter Laser plays the part very well and what is good is the way he is obviously, in-your-face insane. There is no pretence, no attempt at subversion, he is batshit raving mad from frame one. The downside from a plot perspective is that, from the second the two girls enter his house and are offered a drink of water, you are screaming at them to run. He is CLEARLY up to no good, get the hell out of the house!!! What is also good about his performance is the fact that, it’s not brimming with tics and hysteria. As I said above, cold, methodical and efficient are the best words to describe him and this makes him even more frightening. Cold, methodical and efficient are also good words to describe Tim Six’s directing style and I found myself completely distanced from the subjects’ plight at all times. The ending, in particular the final image, is supposed to resonate and haunt you but I really didn’t care at that point and so it had no effect on me at all.
The Human Centipede (First Sequence) has and will gain notoriety. I like the fact that those seeking the very worst of what this film could have been will be disappointed by it not being as in-your-face as they will have presumably imagined. But in the end the only question I could ask is, what’s the point of it all? And, beyond to shock with a truly skin-crawling idea, I fear the answer is that there isn’t one.
4/10
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