Tuesday 30 October 2012

New: Skyfall

Skyfall (2012)


Director: Sam Mendes
Stars: Daniel Craig, Javier Bardem and Naomie Harris

Perhaps it is time that movie franchises started trusting real film making talents to pilot their projects, Sam Mendes’ Skyfall is the latest exhibit which proves that regardless of budget, cast or brand name ultimately the key ingredient is that of the visionary in the director’s chair. There is no secret additive for Mendes just a reluctance to sacrifice core story telling principles adding heft to the psyche of his characters and the meaning to their actions, this may well be the 40 or so minutes missing from its hapless predecessor if one were to compare the running times.

 Never has a Bond been so open, so vulnerable so visibly scarred and defeated as the one we witness here, the fatigue of the game now an authentic badge of comprehension and empathy. It may have taken 3 films but Daniel Craig’s 007 trademark is established as a wall of fierce solemnity which hinge every glare, grimace and scowl to a reserved, introverted manner. 

After a mission takes a bad turn Bond must return from a self imposed exile to aid M (Judi Dench) who is reacquainted with a previously excommunicated charge turned evil (Javier Bardem), MI6 is set for a revelatory episode where everyone involved must reengage with their own personal demons in order to invoke the fortitude needed to rebound.

Of course there will always be the time and need for tradition the girls, the cars, the villain but even  these are not wasted on throw away nostalgic references, instead they are used to skilfully form the thematic structure of the film which concerns itself with the past and the ways in which it manifests itself in the present; Skyfall transcends this by respecting the legacy of whence it came and simultaneously ushering in a new dawn.

8/10

Top 5 espionage thrillers

5. Three Days of the Condor (1974)
Robert Redford’s CIA researcher takes a well timed lunch break from the New York book shop which provides operational cover, only to return to the massacre of his colleagues. The quest for the truth is a murky journey obscured by danger and paranoia with only a hapless Faye Dunaway whom he imprisons for an ally.  


4. Tinker Tailor Soldier Spy (2011)
Disgraced into early retirement George Smiley played by an in form Gary Oldman is brought back into sniff out a double agent embedded in the belly of MI6, to make things interesting his old gang are among the top suspects. Swedish Director Tomas Alfredson’s direction is a masterful display of control and patience as he refines every inch of detail and builds to riveting climax.

3. The Ipcress File (1965) 
Harry Palmer (Michael Caine) is the spectacled, proletarian, anti Bond, his life is free of the glitz and glamour of his more illustrious contemporary. We observe Palmer’s mundane process in great detail, everything from supermarket shopping to displays of petty rebellion which add to his charm and appeal. An investigation is launched into the serial disappearance of British scientists in an apparent Cold War fueled “Brain Drain” and Palmer finds himself way over his head.

2. Munich (2005)
Spielberg’s Ying to his Schindler’s List’s Yang is an explosive tale of revenge and devotion to the cause as Eric Bana heads a cell of Israeli agents tasked with delivering systematic retribution for the atrocities committed during the Munich games of ’72. Bana plunged deep into the dark world of state terrorism and shady informants whichbring into dispute the validity of his actions.

1. The Day Of The Jackal (1973)
An international Chess match/Cat & Mouse game ensues when the French secret service learn of an intricate plot to eradicate Head of state Charles de Gaull through a lone assassin. France’s best detective Claude Lebel (Michael Lonsdale) is assigned to track down would be meticulous killer Jackal (Edward Fox) across Europe as he tries to cross the border and into Paris. With superbly written detail and immersive execution The Day Of The Jackal is a timeless masterpiece.  

Tuesday 2 October 2012

New: Looper (2012)


Looper (2012)

Director: Rian Johnson
Writer: Rian Johnson
Stars: Joseph Gordon-Levitt, Bruce Willis and Emily Blunt

Rian Johnson’s debut film Brick was made 7 years ago for less than half a million dollars, and was testament to what could be done with a smart idea, strong convictions and fine execution. His third film cost $30m has a Hollywood legend as one of its leads and is laden with impressive special effects; few can deny he has earned his shot at the mainstream.   

Looper  however is a far more conflicted piece than Brick  which strives for high concept Science Fiction centred around the nuance of time travel and its associated repercussions and dangers. Joseph Gordon Levitt is Joe a cocky young  professional hitman (a Looper) of the future who disposes of those on the mobs kill list from an even more distant future. Loopers accept they will one day execute themselves as part of the convoluted, nefarious process to erase evidence of their crimes, but when that day comes  the routine nature of Joe’s work is disrupted when his older self in the shape of Bruce Willis manages to escape, and a resultant game of cat and mouse ensues.

Around the midway point problems emerge, not satisfied with creating an immersive world in the first hour, exploring the poisonous conceits of a cleverly imagined future which should be the launch pad for the rest of the action, Johnson muddies the waters by adding further contrivances and plot devices namely the existence of mutant humans who have telekinetic powers which despite being referenced early into the proceedings, undermines the validity of the story. In addition the involvement of Emily Blunt and the 10 year old boy in her care marks a departure from the futuristic themes as her tough talking, gun totting farm girl houses the younger Joe as he tries to avoids detection. We then play witness to a conclusion which borrows heavily from elements of James Cameron’s Terminator and Brian De Palma’s Carrie which belie any notions of originality. 

The unbalance is more of a disappointment than a crushing defeat Looper has plenty to like but it is difficult to find a place amongst its truly great cotemporaries as it lacks the thematic depth of Inception, the forlorn investments of Moon  or striking beauty of Sunshine. In what should be a film about finding ones self or escaping ones past, Looper never really finds anything deeper or more substantial than mere escapism.

7/10