Get ready Efronites, as the High School Musical star is all grown up! Not only is he more of a twenty something man magnet rather than a tweenie twisting jazz hand sensation, its pretty clear from his new film That Awkward Moment that he’s trying to break free into the more adult marketed rom-coms. However the question remains, is this such a good thing?
Well lets take a look at That Awkward Moment, not just a film that Zac Efron stars in, he also Exec Produced it, so there’s definitely something a bit more grown up about this actor, he’s branching out. However the content of the film can still draw his stable audience of young (and not so young) fans.
The film follows Three best friends as they find themselves where we’ve all been – at that confusing moment in every dating relationship when you have to decide “So…where is this going?” They end up making a pact to stay single and enjoy avoiding “that awkward moment” and the moment the agreement is made, of course, they start to meet the girls of their dreams, sort of…
This is ultimately a fun film which you can take or leave. It’s more one for the girls who want to drool over the male eye candy rather than take away any deep and meaningful message about relationships and the like. However, it is fun in parts, there are some memorable scenes, particularly the mis-hap fancy dress scene where Efrons character Jason makes quite an impression on Imogen Poot’s (Ellie) parents, and it does show you how relationships can be fun and exciting when they’re just starting out. There is also the Viagra/toilet scene (which has been used to market the film where possible), where we see a naked Zac Efron trying to go to the toilet ‘post pill’ which caused one or two chuckles from the audience.
However, there are key factors in this film that really do bring it down. As it progresses, there are such cliché moments of chauvinism and male ‘wolf-pack’ bonding that really makes you feel like this film is just trying a bit too hard. There is also excessive dropping of the ‘F-Bombs’ which at times feel unnecessary and something that only the scriptwriter felt would make the film resonate with the 20 something generation of today’s society, sadly that is altogether slightly misunderstood.
On the plus side, the characters are fun, likeable in parts and laughable in others, so its not a film that you will go and see and wont like. It is a more mature performance for Zac Efron, he definitely is trying to strike that balance of trying something new whilst not alienating his current fanbase, which is a wise move. Michael B. Jordan plays the married too young, quarter life crisis character with ease and believability and Miles Teller’s ‘Geek Chic’ sidekick completes the boys club well. Imogen Poots is great as the slightly quirky, pretty love interest and provides the voice of reason throughout.
So That Awkward Moment, isn’t totally awkward in itself. Its definitely one for selective audiences of the Efronite movement and maybe a few more, the acting is good and if you can believe that young twenty-something’s can really live in those large bare-bricked Manhattan apartments with cool creative jobs designing book covers for a big publishing house, then this film is the film for you.
After you’ve picked yourself up from your chair following the three plus hour rollercoaster ride of entertainment that is The Wolf of Wall Street, you’ll reflect (for hours, possibly even days) on what this film contained before coming to the inevitable conclusion that Di Caprio and Scorsese have a) the best bromance in Hollywood, and b) that The Wolf of Wall Street really is a modern day masterpiece.
Unbelievably, this is a true story and follows the rise and fall of Jordan Belfort a Long Island penny stockbroker who served 36 months in prison for defrauding investors in a massive 1990s securities scam that involved widespread corruption on Wall Street and in the corporate banking world, including shoe designer Steve Madden.
Now this all sounds like thrilling, serious stuff, and of course it is, but cleverly intertwined with this is the knowledge that Jordan Belfort (Leonardo DiCaprio) and his merry band of stockbroker men, lived the most zany, outlandish lifestyle that really does only exist in the movies until their time is up.
Martin Scorsese is back to his very best in this punchy screen sensation that reminds us of the great and the good films from the late 1980’s and early 90’s. It’s hard not to describe this as Goodfellas meets Wall Street where DiCaprio plays our modern day Gordon Gekko to perfection! Although The Wolf of Wall Street is not for the feint hearted (it contains lewd behavior, copious amounts of drug taking, full frontal nudity and enough swearing to send your granny to an early grave) you cannot help but love and laugh through every minute of it!
Proving he’s the most qualified and under awarded man in Hollywood history Leonardo DiCaprio pulls off another stellar performance as Jordan Belfort, from the wide eyed rookie stock broker taken under the wing of Rothschild Bank to the greedy owner of his own unorthodox company, we see a true transformation of character right before our eyes, that will have us laughing and crying at the same time, and secretly urging him to come out OK in the end.
Jonah Hill again is perfectly cast as Belforts’ sidekick Donnie Azoff, the ‘loveable douchebag’ who supports his colleague and mentor to the end (sort of) and is often happy to remain the brunt of the jokes and rakes in the rewards of living this lavish lifestyle laid out for him. Margot Robbie is a surprise as the trophy wife Naomi Lapaglia who dons a fantastic New York accent and bombshell look to not only bring Jordan Belfort to his knees in lust, but to also secure her place as Hollywood hot property.
The only downside to The Wolf of Wall Street is that there are some excellent cameos throughout that you just wish would have hung around longer. Jean DuJardin plays the shrewd and straight talking Swedish banker who appears in the latter part of the film, and is a world away from his silent Oscar winning star in The Artist. But the real master cameo performance is Matthew McConaughey as Belforts’ first boss Mark Hana. In only a fraction of screen time, he captures the essence of the craziness of life on Wall Street in the late 80’s and hooks Di Caprio’s impressionable character onto the biggest drug of all, money. Its outlandishness will have you howling in your seat with laughter and re-creating a certain ‘chest chant’ for days to come!
The Wolf of Wall Street may be sexist, brash, punchy and full of what was wrong with the world pre-crash, but you’ve got to admit once watching this film, that they had one hell of a ball in their work hard, play hard lifestyles. The costumes, the humour, the references and the brilliant acting all captures this era perfectly, and with this creates, as previously stated, a modern masterpiece, three hours promises to whizz by like three minutes and you’ll be grinning and laughing all the way home. This film really has set the bar for 2014.
For anyone who is looking at the Hobbit posters that are plastering our walls, buses and underground stations, and wondering whether or not its worth your time (about 2.5 hours) and money to sit in a dark room throughout party season; I can categorically tell you it is!
Forget the first installment of the film franchise and all its appalling high frame rate filming and dull overly long set up plot lines, The Hobbit: The Desolation of Smaug is a triumph! What was lost in the first film is the distinct transportation to another world (its pretty hard to get lost in a film when the clarity of the filming is so high you can see the prosthetics covering each characters faces) and more frighteningly a lack lustre sense of action and adventure. Luckily part two brightens up all our woes and keeps you on the edge of your seat from start to finish!
I know its always a good sign when I remember to check my watch and realize that its already over two hours through. I had been so preoccupied before hand with everything going on, I didn’t even think I stopped to take a breath let alone look at the time!
The Hobbit: The Desolation of Smaug is the continuation story of Bilbo Baggins the dwarves and Gandalf the Grey as they continue their journey to reclaim their rightful homeland Erebor, from the fire-breathing dragon that is Smaug. Unbeknown to the rest of the group, Bilbo is also in possession of a magical ring which gives him extraordinary powers and makes him a brave and valuable asset on this quest.
First and foremost the action is amazing. Whether it is a newly tweaked version of the 48fps or indeed the standard 24fps version, you will be dazzled by the intricacy and excitement of each action led sequence. One key highlight has to be the battle with giant spiders, which with added 3D gives them a new monstrous perception and will make you shudder out of reach in your cinema seat. Secondly, is the incredibly impressive river barrel sequence, with prancing elves killing Orcs with “endless” amounts of arrows, the logistical reality does not come into play in any way within this sequence as its 15 minutes of glory is truly breath taking.
Each character that we have seen in the first installment of the franchise becomes more developed in their own right in this film. Bilbo has an increased level of confidence thanks to his secret weapon, Gandalf goes off to fight his own battle against Sauron, and there is an interesting start of a love triangle between Killy (Dwarf), Tauriel (Elf) and Legolas (Elf) which is left hanging ready for the conclusion in the third film.
And finally, we get to Smaug – Benedict Cumberbatch is superbly cast as the greedy dragon resting in the Misty Mountain awoken by Bilbo. The detail that is used to create the dragon is some of the best out there, each scale is clear to see and the fire in Smaug’s belly prepares you for a visual feast of fire and gold.
To round up, The Hobbit: The Desolation of Smaug brings Peter Jackson back to Tolkien’s original fantasy and his directing best. Fun for all the family, this film is THE go to film for the Christmas period and not one to miss.
If you had any worries or concerns that Director Gary Ross’s successor would be turning this sequel into a Twilight esq format, where each film has its own unique stamp per director, and the lead character looks more and more bizarre as the films progress, then fear not, as The Hunger Games – Catching Fire continues the franchise brilliantly.
In the second installment of the hugely popular film adaptation, Tribute victors of the 74th Hunger Games Katniss Everdeen and Peeta Mellark become targets of the Capitol after their victory sparks a rebellion in the Districts of Panem. As a result, President Snow decides to hold the 75th Hunger Games in which all previous victors will once again fight against each other.
If you have been a fan of the books and then watched the first film, you may have felt a little short changed in terms of the detail throughout the Games section itself. Catering to a 12a audience, the first installment of this franchise lacked some of the more graphic scenes of violence throughout, and replaced this with clever jump cuts and edits to keep the action flowing. I for one, was one of those people, and felt slightly underwhelmed when walking out of that original viewing.
However, this second film seems to have found its feet much more – realizing that there is a large share in terms of older audience members, it quite purposefully takes more risks. There is a whipping scene involving Gale Hawthorne (Liam Hemsworth) the shooting of an old man who dares to acknowledge the revolution, and a very unceremonious punch to the face for Katniss Everdeen (Jennifer Lawrence). Although these are all wincing to the eye, they are a refreshing progression for the film, and as the film tackles more grown up subject matter, you very much feel like you’re watching a much more grown up film.
Once again the lead characters are portrayed well. Lawrence’s Katniss Everdeen is brooding and thoughtful, more of the relationship between herself and Hemsworths Gale is explored, and Josh Hutcherson’s Peeta Mellark has realized that he must suppress his feelings in order to play the game and put on a great show. There is also an influx of new cast members (all the other Tributes get killed off in the previous film – in the style of a less brutal Battle Royale!) and one of the biggest surprises of this is Sam Claflin as Finnick Odair. With a flawless American accent, a smile to melt a lot of hearts in the female share of the audience, this British actor will probably use this character to cement his place in the Hollywood heart throb elite – Robert Pattinson better watch out!
Out with the old and in with the new is the way this second running of the film works, the style has been cleverly matched by Director Francis Lawrence to its predecessor and not a minute of filming is wasted. Even if you’re coming to the movie having loved the book, its truthful approach to what is written will be a welcome relief, and it may even hold some surprises for you too. Plenty of action for everyone, some eye candy for both boys and girls, and a very enjoyable film to watch. You will not be disappointed!
Drinking Buddies is set in and around the working and running of a brewery, where Kate (Olivia Wilde) and Luke (Jake Johnson) are co-workers. She’s in a relationship with a wealthy older man (Ron Livingston) and his fiancé (Anna Kendrick) is keen to get their wedding plans moving along. Their friendship is very strong and they have a lot of similar interests, such as the beer they produce and they both share similar playful senses of humour. Their lifestyles revolve around drinking with their co-workers, and for the audience its hard to know whether or not what they share is friendship or something that little bit more.
The film is directed and produced by Joe Swanberg and is an honest and real depiction of friendships and relationships amongst late twenty-somethings. There is sexual tension, tomboyish playfulness and blurred lines around the line drawn between men and women who just enjoy each other’s company. The drama you witness within Drinking Buddies feels real and void of any “film like” over- dramatization; no dramatic realization that one person is with the wrong partner, and no overly thought out inner battles over whether or not each character should be with one another. Some would say it is exactly how you or I would deal with the various situations that present themselves – sit on them until absolutely necessary then apologize profusely! – With the right balance of humour, relatable trials and tribulations of modern day relationships and that awkward feeling where you’re pretty sure there’s underlying sexual tension between you and a friend – this film manages to capture issues that often burden the general public more than anything and yet depict it in such an enjoyable way.
Olivia Wilde and Jake Johnson are incredibly believable as the lead characters who share this surface based brother/sister /best friend style friendship; and a lot of this is to do with the heavily improvised scenes which not only make the audience feel like they’re catching a glimpse through the keyhole of a group of peoples lives but also help you to dispel any potential distaste towards Wildes beautiful and likeable girl next door persona. You can understand why Luke likes Kate, she’s one of the boys, and is always the one up for some fun. What you do question within this film is why there isn’t any suspicion or doubt from each of their characters other halves. Their tactile approaches to each other can be a little hard to swallow sometimes and yet you’re still routing to see if they eventually take the brave step to cross that all important line.
What these characters represent is often the realistic approach to potentially something better suited to ones self. Its clear to the audience that Luke and Kate would be perfect for each other, yet they never dare to do anything more than think about it. You will leave this film questioning whether or not there are regrets about someone or something that you have had the opportunity to pursue in days gone by, and having taken the safer option, maybe regretted after.
What the director manages to do with Drinking Buddies, is give its audience a glimpse into the days of the lives of people not so different to you and I, everyday jobs and simple pleasures that we all have, essentially, life is a simple construct and sometimes its not really worth the complication. With this in mind Swanberg delivers a film that is fun to watch, quirky in its own right and most importantly get you thinking. Its style is simple and poignant, so wont be everyone’s cup of tea, not much happens throughout, but what does happen manages to get you routing for those you’re watching, laughing at similarities that you most likely will see in yourself, and leaving hopefully with a smile on your face.
Drinking Buddies is still out in selected cinemas, so catch it if you can.
A gripping thrill rollercoaster of a ride, The Call is an interesting insight into the world of the Los Angeles 911 emergency services.
Starring Oscar winner Halle Berry as Jordan Turner a veteran 911 operator, we watch her journey as she takes a life altering call from a teenage girl played by Little Miss Sunshine herself Abigail Breslin. Not only does this call mean Jordan has to try and guide this girl to safety, she also has to confront a killer from her past and overcome her fears.Cut back and forth between the abduction and ‘The Hive’ (the department for 911 emergency assistants who work away like busy bees) the audience are taken on a tense ride and education as to what it really means to be a 911 operator. Making judgments between protocol and human instinct is a fine line in lifesaving situations, as we see through this film. Halle Berry is back to her finest in the majority of this film, as she showcases a mix of emotions that make the audience empathise with the difficult job she is faced with. Just like her character we understand the stress of the job and the natural (probably female) instincts that she has when faced with a child being abducted, and the consequences that lie ahead should Jordan as the operator put a foot wrong.
We also see a fantastic performance from Abigail Breslin as the victim. We follow her day as a normal girl shopping in a mall with her friend, and then once left alone, gets drugged, abducted and thrown in the trunk of a car by her kidnapper. The most tense and exciting part of the film is the interaction between the victim and Jordan. From the trunk she manages to make a 911 call which initially goes through to a rookie who finds herself way out of her depth and then gets passed on to Jordan. From this point on, you as the audience find out some really clever tricks to try and get yourself rescued from a kidnapping, using everything you can find to discover where you are travelling to, what the car looks like and most importantly anything you can do to pop open that trunk and jump out.
Breslin shows here that she has matured from a child to young adult actor seamlessly. Matching Halle Berry’s ranges of emotions, you watch her go from despair to sheer determination to get herself out of this situation alive. It’s this that makes the first three quarters of this film so engaging to watch…
…And then, sadly, in the last fifteen minutes or so, the film takes a tumble, so prepare yourself for this. After an hour and fifteen minutes of an intense, edge of your seat adrenalin filled thrill ride of a film, The Call sadly falls into the depths of B-Movie status and takes a route so completely left field of the original plot its not only difficult to watch, its also totally disappointing. It’s a shame that the film leaves you with such a sour taste at the end, it had so much promise, but there is still the opportunity to remember the immense film you had watched just before this semi-car crash.
Regardless of it’s ending, The Call is still very much worth a watch. For the majority, it’s an intelligent, intense and exciting film with great performances.
Mark Wahlberg is making some clever role choices this year, showing he’s versatile, engaging and exciting to watch… in 2 Guns he positions himself against the great Denzel Washington and proves to be a fantastic sparing partner full of quick wit, muscle and great comedic timing.
The film itself follows the two Hollywood heavyweights play a DEA agent and a naval intelligence officer who find themselves on the run after a botched attempt to infiltrate a drug cartel. While fleeing, they learn the secret of their shaky alliance: Neither knew that the other was an undercover agent.
Speaking of working with Denzel Washington, Wahlberg said at a recent press conference in London, “It’s just one of those things, it either works or it doesn’t. He was game, I was game; we had a great part and a great director in Baltasar, who knows me and how I like to work. I like to improvise a lot, and I like to constantly be throwing curveballs at people, and he was just up for it, so it kind of worked.”
We certainly see this working to a tee in the film, as well as a fantastic pre-credits opening scene where the fun friendly relationship is established between the two characters, we also learn that some of the quick quips that Wahlberg throws out during a ‘chicken shooting scene’ are actually improvised, which will have audiences rolling with laughter throughout.
What’s great about this film is most certainly the relationships. When actors work well together on set it comes across brilliantly on scene, this is very apparent here. Not only from Wahlberg and Washington but with Paula Patton as a supporting DEA agent and love interest, plus the superb Bill Paxton who plays Earl a ruthless CIA agent.
2 Guns remains fast paced and exciting throughout, it brings back sentiments of Butch Cassidy and the Sundance Kid, but unfortunately it’s nowhere near as memorable. It’s certainly a film that you could go to the cinema, and enjoy with your friends, but in terms of a staple addition to your collection, we’re not so sure. Never the less, if you’re a Denzel, or a Mark Wahlberg fan, you wont be disappointed, for Denzel he steps away from the serious and brings his smooth talking ability to centre stage with great ease, and for Wahlberg we see another slightly off the wall sidekick character which shows that he’s got some serious acting chops as well as his muscle.
Based on a true story, Eden follows a young Korean-American girl, who in 1994 was abducted and forced into prostitution by domestic human traffickers, as time passes she realizes that her only way to survive is to join forces with her captors.
A compelling watch, Eden is the kind of unexpected hit that you find yourself unable to pause and return to – it has to be watched from start to finish in one sitting. The reason, well, you spend the first half of this film trying to work out just what is going on, as you begin to go on this hellish journey with Hyun Jae (Jamie Chung). The fact that this is a true story makes it all the more grisly.
Cleverly you are sheltered from any graphic detail in terms of what the girls actually do when they’re brought to various parties, nightclubs and pornography film sets. Instead you are a second pair of eyes for Hyun Jae, figuring out as she is, what is going on, why she’s here being held in a 10 x 10 storage unit and what her fateful future holds. What is brilliant about this film is that you really don’t know who to trust, and that there are twists and turns at every opportunity. The film really doesn’t turn out how you expect it to, and you are playing a complicated guessing game at every throughout.
The cast is solid and led by an impressive Jamie Chung who carries the film with ease. She plays both the innocent and later the intelligent influencer very well and provides a stark contrast to not only her capturers but also the other girls kept in confinement with her, some of which have grown accustomed to this way of life and begin to play the game for what it is.
Supporting Chung are Beau Bridges who plays Bob Gault, a ruthless and corrupt Federall Marshal who runs the organization with little mercy; and Matt O’Leary who plays the troubled Vaughan, who’s past and wrong life choices have led him to this destination. All of the characters have their distinct traits which you can identify with and pin point straight away. Bob Gault requests no sympathy from the audience, he runs this operation under the façade of a pillar of the community and underneath it all profits unremorsefully on the actions of the girls. Vaughan has moments in which he battles with his conscience over what he’s doing and you can immediately spot his vulnerability, as does Hyun Jae, which keeps you gunning for our female lead as she patiently figures out how to get the better of those who keep her.
Full of suspense and intrigue, Eden is a highly watchable film with notable performances and a gripping storyline. A thriller from start to finish and well worth a watch when it comes out in cinemas on the 19th July
An adaptation of F. Scott Fitzgerald’s Long Island-set novel, follows mid-Westerner Nick Carraway (Tobey Maguire) as he documents his lavish encounters with neighbour Jay Gatsby; who seems to have all the wealth and wonder in the world, but remains childishly unsatisfied without one thing, the woman he adores, Daisy (Carey Mulligan).
Following all the hype about the decadence of this film, fans of Baz Luhrmann’s work will not be disappointed with the spectacle that this film delivers in the first half at least. Taking the concept of the ‘roaring twenties’ to its literal extreme, as the film begins you are introduced to a booming New York full of promise, prosperity and parties! Intercutting re-purposed original footage with some of Luhrmann’s newly developed settings; the audience follows Nick Carraway as he discovers and becomes a part of this world. Slowly, through the eyes of Nick, we discover the main nouveau rich players in this story, starting with Nick’s cousin Daisy and her husband Tom Buchanan (Joel Edgerton).
Upon entering this world, we are faced with an immense sense of overwhelming intensity, the editing is fast paced from one character to the other and at times you’ll feel breathless trying to keep up. You will find yourself trying to take in the scenery in front of your eyes and attempt to keep up with the storyline as well. This puts you straight in Nick’s shoes, a new world, new people and a whole new lifestyle.
Tom Buchanan is expertly played by Joel Edgerton, and is dominating in every scene, bringing a sense of rich, butch, manliness, which is neither endearing nor trustworthy. With him is Daisy, brought to life by Carey Mulligan, an interesting choice for the part, she makes a promising entrance making the character feel care free and wistful as we meet her – quite like a bubblegum princess – but as the film progresses ever so slightly fails to demonstrate the complexities and shallowness of the literary Daisy that fans of the book will have built in their minds. Alongside these characters is Jordan Baker (newcomer Elizabeth Debriki), Daisy’s best friend, this other than Gatsby is probably the best casting of the whole film – looking like a real product of the time and acting with the arrogance and elegance you would expect from a flapper socialite. Debriki carries herself in a scene-stealing manner that, like Edgerton, dominates any screen time she has.
Onto the main man, for a modern day Jay Gatsby, Leonardo Di Caprio is the best choice. Smart, mysterious, yet at times vulnerable with a buffoon like quality; the moment the actor raises a glass to the crescendo of music with a beaming smile at one of his lavish parties, you can only imagine teenage girls once again placing posters of this man up on their wall as teenagers of over fifteen years ago did with his last outing with Luhrmann.
Bringing all these characters together really does make one hell of a party, and if there’s one person who likes to put on a party bigger than Jay Gatsby, its Baz Luhrmann. This is what the audiences are most looking forward to out of his films, and if we’re honest, this is what the film is entirely sold on. Three scenes of stunning clothing, expensive jewelry, amazing choreography and stereotypical nods to the era that had it all. Once the audience is introduced to the world of Jay Gatsby’s parties, you really see the trademark Luhrmann come to life.
As much as this spectacle is what Luhrmann fans are craving, the novelty can only go so far. Part of the films downfall is its pressing focus on style. Sadly there is not enough substance to support it. Throughout the second half of the film, the parties dim down and you are left with the love triangle story. When you watch it unfold, you become more attuned to the flaws in the film.
Firstly, the extravagant sets that populate the initial part of the film feel more contrived and fake, as there are less people in the room. You find yourself feeling like you are watching a play, with purpose-built backgrounds and a very clear distinction between what is a real location set and what is constructed. Once you see this, you feel that there are more contrived elements to the film, everything is so detailed and so precise – particularly thinking back to the blocking of every character from extra to main – Looking back at Luhrmann’s other films, particularly Moulin Rouge, he managed to create a fake Paris that felt real, you could almost smell the stinking sewers of Montmartre and taste the champagne being poured into the glasses on screen, perhaps it was the limitations on technology that allowed him to be more artistically experimental and in this case as more has been offered to Luhrmann on a plate, it feels like he’s used it because he can and not because it’s right. Whatever the reason, with The Great Gatsby, something just doesn’t quite marry up – and this is similar to the issues that one may find with Joe Wrights Anna Karenina.
Alongside this, you feel so distracted by the set that the fundamental plot line gets lost, and where you would expect to feel real emotion towards the situation Jay and Daisy are in, and build dislike towards Daisy’s fickle nature, you just don’t care. There are tender moments, such as when they meet once again after five years, and this is where DiCaprio shines with relatable buffoonery and nervousness. But that is about it, suddenly there is a lacking of focus and complexity within the acting and you do feel like the actors are sadly moving around a room to hit their mark and deliver their lines, rather than providing a real rival performance to the Redford/Farrow Great Gatsby that people know and love. Perhaps a much simpler setting could have allowed time to focus on the real story at the heart, and provide a more complex character study, which those fans of the book will crave more.
Depending on what you’re looking forward to most within this film, you’ll either love The Great Gatsby for its decadence or loathe it for its lacking in substance. Whichever way you look at it, you’ll definitely be seeing something different to what is in the cinema at the moment. However, The Great Gatsby is another problematic product of too much hype in the build up and not enough clout in the end product. Fans of Luhrmann’s work will enjoy seeing him bring another film to the cinema screens, however may still feel he peaked at Moulin Rouge and has struggled to live up to that success ever since. But if there’s one thing you do take away and treasure forever from this film, it’s the incredible soundtrack, just like Baz intended; it’s the perfect accompaniment to any party.
3 Stars.
Here’s the latest from The Great Gatsby premiere at the Cannes Film Festival…
One of the most prominent Chinese filmmakers Peter Ho-Sun Chan takes us back to the turn of the twentieth century with this kung fu, kick ass tale of gangs, redemption and future thinking detective work.
It’s 1917 and Liu Jun-xi (Donnie Yen) is a village craftsman whose quiet life is irrevocably shattered by the arrival of two notorious gangsters in the local general store. When Liu single-handedly saves the shop keepers life and kills the gangsters, he comes under investigation by detective Xu Bai-jiu (Takeshi Kaneshiro). Convinced that Liu’s marshal arts mastery belies a hidden history of training by one of the regions vicious clans, Xu doggedly pursues the shy hero – and draws the attention of China’s criminal underworld in the process.
If you are a fan of the more recent period based Far Eastern action movies like House of the Flying Daggers, Crouching Tiger Hidden Dragon, or Zatoichi, you will find yourself thoroughly at home with this film. With enough of a Western feel throughout in terms of the films approach and fantasy, action and excitement; Dragon becomes palatable for someone who feels that subtitles are not a barrier to watching a perfectly good film. From the opening titles you are seduced with powerful music and motion graphics that resemble ink blots on the screen taking you on a journey, which you don’t expect to then lead to China in 1917.
Once you arrive at this picturesque and secluded Chinese village, full of greenery, you meet the central figure in the film – Liu Jun-xi and his family. The film outlines the average day for this family, morning prayer, breakfast as a family and work, a simplistic and normal existence. What I like about this, is that it draws you in as a viewer, you immediately relate to this scenario, its very similar to that of our time showing that despite technology and cultural changes, life back then is fundamentally the same as it is now.
Once the world is turned upside down, through the arrival of the gangsters, you find yourself attempting to piece the puzzle back together just like Xu Bai-Jiu, except his far more advanced style of thinking (something you’d expect to see in CSI China – if there ever was a programme like this) quickly puts the audience back in its place and show’s who the real genius in the room is. Cleverly, Chans direction paints the portrait of the detectives mind beautifully for us to watch as he thinks through his justification for why there is more to this act of self-defense than just luck.
As we follow this battle between the detective and his subject, we discover wider implications of this deed than just heroics – and this is where the fun really begins. Bring in the extensive fighting scenes and in-depth knowledge of how clever our bodies are and what trickery they can cause. As Liu’s dark past is revealed, he faces some much bigger battles, as history comes back to haunt him and he is forced to show his true colours. Without spoiling it, seeing this in action reveals epic moves both of this world and beyond, which keeps audiences gasping and entertained at its crisp precision and complications, believe me, by the end of this movie you will all want to be able to summon the power of Qi.
What you learn from films like this, is that guns, blood and guts can be one persons cup of tea when watching an action flick, but for others, the expertise that goes into developing clean cut fight sequences that don’t even display even one splattering of blood can often be much more compelling to watch, and to throw in a few homages for good measure there’s a fair share of roof top gliding as well – the mark of an excellent Eastern action film that knows how to please its audience.
An interwoven and carefully thought out plot propelled by believable characters and unbelievable stunts, Dragon is a must for any martial arts enthusiast. Truly breathtaking.
Fanatical about Film in a Perfect Way... 