Join Luke McWilliams and Steven Robert as they review new to cinema releases;
Liam Jennings has a look at the cult-classic Solaris.
Special guests: Lights Canberra Action 2011 film festival best student\film winners, Benjamin Woods and Aaron King.
Join Luke McWilliams and Steven Robert as they review new to cinema releases;
Biutiful; and
Liam Jennings has a look at the cult classic Starship Troopers.
Join Luke McWilliams, Steven Robert and Liam Jennings as they review new to cinema releases;
Join Luke McWilliams, Steven Robert and Liam Jennings as they review New to Cinema releases:
· Rango,
· Inside Job; and
· New to DVD I’m Still Here
Special Guest: Flickerfest festival director Bronwyn Kidd.
Join Luke McWilliams, Steven Robert and Liam Jennings as they review New to Cinema releases:
· The Girl Who Kicked the Hornet’s Nest,
· The Adjustment Bureau; and
· Cult Classic Swingers
Tron Legacy is a sequel to the 1982 cult movie TRON.
Plot
We meet a relatively young Kevin Flynn (played by Jeff Bridges.....in a manner of speaking ) who is a software engineer and now CEO of ENCOM International as he recounts stories of a virtual reality computer program universe called “The Grid” to his young son Sam. Flynn explains how he is developing The Grid with the help of two computer programs, a security program called Tron and a program designed to perfect the system called Clu 2. and that one day he will show this universe to Sam. Unfortunately, one evening Kevin goes to his office in his arcade, never to return.................................
Some twenty years later, ENCOM has become a capitalistic corporation a world away from Flynn’s liberal manner, and its exiled controller Sam (now played by Garrett Hedlund) is nothing more than a serial pest, much like his father in the original TRON. That is until one day Sam receives word from ENCOM executive and good family friend (creator of the original Tron program played once again by Bruce Boxleitner), that he received a page from his father’s office. Breaking into the 80’s style Flynn’s arcade, Sam starts to tap away at his father’s secret computer while a mysterious, yet familiar, particle digitizer laser position behind him snaps into life, where digital wackiness quickly ensues.........................................
Review
Tron Legacy looks and sounds brilliant. The computer graphics and the ‘Grid’ landscape are amazing. After reading a lot in 3d magazines and the like, apparently the world of computer graphics were pushed to the limit with this movie. Simple scenes such as the Clu 2 character walking through the arena were completely CG, as is Sam’s suit whilst riding his light-cycle. The 3d conversion is fantastic. I tend to think that animated movies look the best in 3d (Avatar, Megamind), as the image can undergo more evasive manipulation than that of its film counter-part.
The action sequences are a joy to watch. Light cycle-chases, disk battles and planes ablaze, leaving streaks of flowing, ebbing colours running along the screen like a groovy lava-lamp equalizer, moving and changing with the throb of the electro base. Such action scenes however, are done away with in the movie’s introduction, quickly running Sam through them as a recap of the original TRON, getting viewers up-to speed about what this world is, and then putting them smack into expositional plot. In this sense, Tron Legacy is less a sequel and more a deliberate marketing strategy to place the product to contemporary audiences.
The world of TRON, inside the ‘lost hard-drive,’ has evolved naturally like a Galápagos Islands, away from any other computer system and, as pointed out in the script, the internet. This explains the organic and updated look of the new Tron Universe as compared with the original TRON: gone are the limiting straight lines of the light-cycles, and we even see naturally evolving mountain ranges and water!
Unlike The Matrix which is designed to receive constant updates and changes like any other Windows software, The Grid was left to its own devices, welcoming the arrival of a new form of life in the Iso’s: naturally evolved organisms birthed within The Grid, free from User’s pre-programmed functions they have complete free will.
The soundtrack by Daft Punk is truly awesome: digital beats are accompanied with symphony strings; a blend of traditional, textural sound with the almost sterilised perfection of computer emulation.
In regards to the script, computer programming serves as a metaphor for eastern philosophy like the original TRON. There are references to gods and their creations, destiny, legacy, evolution of life and spirits within the machine. Frankenstein is played as The Dude, and he suffers the mistake of lack of a thought-out-plan – creating for the sake of creating, like the creator of Jurassic Park, not because he should but because he could.
Olivia Wilde is a great new find. Comic and computer geeks have found a new object of their affection. Olivia plays her Quorra character as young, optimistic, naive and beautiful warrior: efficient in battle, but emotionally raw. Quorra is a riff on Frank Miller’s female Robin to an aging Batman in The Dark Knight Returns and The Dark Knight Strikes Again. As Batman is to Robin, Flynn is to Quorra– one who has grown bitter and weary with the world around him, but employs the assistance of a young, optimistic, energetic girl to be the eyes, ears and heart that he needs to get the job done.
Unfortunately, there are numerous plot-holes, character inconsistencies, exposition and areas where the plot takes major missteps. For example, why, if this Tron universe has been evolving on its own Hard-Drive for the last 20 years, has the arena games been used as a system of control such as that seen in the MCP from the original TRON? Clu 2 was developed from within the confines of this specific environment, and hasn’t set foot outside of it at all. It could be argued that, as Clu 2 is a mirror of Flynn; that he is using Flynn’s memories and techniques to deal with control of this world. Another plot inconsistency has Flyn making the point that Clu 2 cannot physically set foot on the naturally evolved landscape of The Grid, hence his hideout set in the mountains looking over The Grid. Yet, we see Clu freely walking all over Flynn’s pad in a scene! Why didn’t he just do this a thousand computer years earlier?
There is a scene where Sam gets ‘suited-up’ by computer-program ‘sirens’, basic programs designed for one thing, which is to be stored in a facilitie's walls, to come out and dress new arrivals to the gladiatorial games, at which point they return to their holding pens in the walls. However, when Flynn is out amongst the town-folk, he bumps into one of these programs as she goes about her life, complete with umbrella! If such a program has this type of free will, why not quit that horrible job! There are also numerous scenes that do not advance the story at all, instead leading to forced obstacles that the hero must overcome, (of note is the completely redundant club scene with Michael Sheen) which is frustrating as there are bigger things afoot that we would rather see him dealing with!
As mentioned before, the most frustrating thing with Tron Legacy is simply the plot. It seems that star Jeff Bridges is shoe-horned into this movie, where, unfortunately, his absence may have helped progress the film’s story to a more relevant and exciting storyline, focussing on Flynn’s son Sam and the movie’s namesake; Tron. As it is, with a graphic novel direct sequel to TRON, Tron: Betrayal , which sets up the video-game Tron: Evolution that immediately precedes Tron Legacy, it is as if we are watching the third part of a trilogy, with all the fantastic plot details delivered in stilted exposition. It is like having watched Return of the Jedi, and have a character briefly recount the events of the previous 2 films to us (not withstanding the prequels). This takes away from the relationship Flyn has with Clu.2 and any sibling rivalry that may have developed between Sam and Clu.2. This approach did not do any favours to The Matrix Trilogy where the narrative bled through three films, a video game and an Anime collection, so it is odd that the makers of Tron Legacy would choose this route.
There were rumblings that Tron Legacy was in fact a bridging movie, a movie that looked to establish Tron in a contemporary setting, and then to proceed with the story; Cillian Murphy’s character as Edward Dillinger Jr, head of the software design team for Encom, was to seek revenge on behalf of his father, original TRON movie villain, Ed Dillinger portrayed by David Warner. Such hopes may have been dashed from Tron Legacy’s performance at the box-office, but that has not stopped Disney from releasing an animated television series.
Rating
Tron Legacy is a sumptuous aural and visual feast. The plot is however less of a sequel and more of a bridge to something more contemporary – a passing of the torch. It is fitting that it is called legacy, however, it is a pity that such a grand story has been quickly glossed over, cinematically speaking, in anticipation of further instalments rather than delivering a hard Tron story first and foremost, the ones fans deserved.
3.5 light cycles out of 5
Check out what Rotten Tomatoes have to say, and check out the trailer!
Luke McWilliams, January 2011
Join Luke McWilliams, Steven Robert and Liam Jennings as they review;
New to cinema release Conviction,
New to DVD release, The Experiment; and
Cult Movie, Short-Cuts.
Special Guest: Marissa Martin from EoR Media
Join Luke McWilliams, Steven Robert and Liam Jennings as they review;
New to Cinema Rabbit Hole,
New to Cinema Unknown; and
Cult movie Audition (R18+)
We also have a chat about the 2011 Tropfest experience.
The Fighter is a biographical sports movie directed by David O. Russell.
Plot
We are introduced to professional welterweight boxer "Irish" Micky Ward (played by Marky-Mark Wahlberg) and his older half-brother Dicky Eklund (played by The Dark Knight’s Christian Bale). Under the coaching of his never-do-well brother Dicky, who is “the pride of Lowell, Massachusetts” for having knocked down Sugar Ray Leonard back in his glory days, and his overbearing mother (played by a fantastic Melissa Leo), we see Micky get pushed into a fight that he should never have been in in the first place. After receiving a vicious and humiliating beating, Micky is quick to rethink his career and his professional relationships with his family and also his love-life. Picking up the phone to call the young and attractive bargirl (played by Amy Adams) wackiness soon ensues......
Review
Marky-Mark really is the quiet centre of a family drama. Without his restrained and very subtle performance, the movie would probably descend into a screaming mess. As it is, he is the bedrock where very colourful characters inhabit. Christian Bale loses himself in his interpretation of real-life character Dicky Eklund, absolutely deserving of his best supporting actor Golden Globe award. The pair’s mother played by Melissa Leo is reminiscent of Jacki Weaver’s Oscar nominated performance in last year’s brilliant Animal Kingdom: a mother who forgives/ignores her families’ dysfunction, choosing to have them to stay together no matter what. Amy Adams is also very convincing as a wrong-side of the track “MTV girl”, her looks being made to look an attainable and familiar beauty. One could easily say that Marky-Mark is the weak link as his star doesn’t shine as nearly as bright as others on-screen. Like his onscreen character, Marky-Mark is a stepping-stone, allowing his co-stars a leg-up, confident that he is centre-stage. Mark was integral in getting the film made, keeping his physique in top condition over a 5 year period on the off-chance that he would enter production at a moment’s notice. Like Natalie Portman in Black Swan, Mark went through a gruelling boxing-training regime to convincingly convey welterweight, giving a lot of thought into the psychology and technique of boxing (as seen in the movie).
The texture and atmosphere of the movie is extremely rich and authentic. It is as if we are transported to Masechusis America, complete with not-very-good-looking average locals (special mention goes to Micky’s many sisters). This is more-so than Black Swan which, admittedly, probably wasn’t trying to be at all realistic, given its horror film aspects. The film makers had real-life source material and references at their disposal that they have used extremely well.
The camera-work and cinematography by Hoyte van Hoytema is great. Switching from film to digital-broadcast quality during fight-scenes, we bounce from docu-drama to becoming a sporting spectator getting the best of both worlds: a great front seat to amazing action sequences, and bearing witness to the intimate relationship between boxer and trainer.
Critics have suggested that there is not enough actual boxing in The Fighter, but obviously this is more of a family drama then straight out boxing movie (hell, even Rocky was a drama first!). The obstacles Micky has to overcome are influences on his life such as his family, his management, his girlfriend and ultimately himself, that seem to only want the best for him. In reality however, either consciously or subconsciously, such influences are hiding ulterior motives of their own redemption and financial gain.
First linked to Darren Aronofsky after directing The Wrestler, this movie could have been quite a different beast, tuning the subject matter with more dark and serious overtones. As it stands however, Russell does a good job referencing the negatives of Micky’s life, (Micky’s internal doubts, his savage beatings and his drug-addled brother) while maintaining the focus on Micky’s rise above his various obstacles.
Rating
One could argue that amongst all of the drama and negative/poisonous environment that surrounds Micky, the movie seems to come together too neatly at its conclusion. This may be in tradition of such sporting films but it also occurred in real life. Marky-Mark has commented that the story was chosen as it makes a great cinematic story, thus art imitating life. After watching the lead up, I was satisfied with the final blow.
Great performances, great atmosphere and action sequences. A real sucker-punch to the tear-duct – 4 jabs out of 5
See what Rotten Tomatoes has to say, and check out the trailer!
Luke McWilliams February 2011
Black Swan is a 2010 psyhological thriller directed by Darren Aronofsky.
Plot
We are introduced to the introspective Nina Sayers ( played by Natalie Portman) who is competing for the lead part of a reimagining of the classic ballet, Swan Lake. Nina must face fierce competition from other members of the New York dance academy, most notably newcomer Lily ( played by That 70’s Show and Family Guy Mila Kunis) and the relatively aging predecessor to the part Beth MacIntyre (played by Winona Ryder ). Amongst Nina’s stresses is her resentful and overbearing mother (played by Barbara Hershey) and the uninvited attention of her ballet director (played by Vincent Cassel ). As Nina begins training within this extremely stressful environment, attempting to channel and inhabit the Black Swan character, psychological wackiness ensues....
Review
Black Swan is very similar in style to Aronofsky’s 2008 The Wrestler : the camera moves very closely to its actor’s shoulder, almost in a documentary style of filming. We are invited into their world through their eyes. Both characters make a living through expression through their bodies as opposed to everyday relationships. Whereas one lives for his low art, Natalie’s introverted ballerina chooses to be manipulated in her pursuit of high art.
The claustrophobic and insular world of the ballerina is expressed well, inspired by Polanski’s apartment trilogy (most notably Rosemary's Baby): we see Nina as she lives in her tiny apartment with her over-bearing mother, her crowded room filled with naive, virginal objects, shuffling into a tube train and then into the narrow halls (that look like a sewer dwelling) of the ballet school. Only in practice under the oppressive director and (finally) on stage can this bird spread her wings and be free!
The symbolism is extremely obvious and blunt: characters are dressed in black and white, with Nina wearing a white feathered boa and there are many references to mirrors and reflections, obviously symbolising Nina’s burgeoning dual personality disorder. Nina’s environment is also literally dolled up – teddy bears and other such toys crowd her room, shoving the infantilised, virginal princess idea down our throats. The metamorphous that Nina experiences is also so literally handled that it verges on the comical. The movie is also unfortunately extremely clichéd, with scenes such as the resentful mother actually telling her daughter “I gave up my career for you!” and the sleazy ballet director imposing on our young heroine.
In regards to Natalie Portman’s performance, either she gives a timid, shallow performance, or she gave a magnificent performance of Nina’s timid, shallow White Swan persona. The only scene where Natalie comes alive, or seems at least interesting, is her turn as a rebellious brat that is reminiscent of the lively Lily that only lasts a minute at best. Compared to Nina, Mila Kunis’ Lily is a fun and welcome site. Perhaps that was the point, but a great character arc may have served the character better. Natalie and co. apparently went through months of training to achieve dancer’s bodies and also to give a convincing performance as a ballerina on stage. Due to the very tight action shots however, the experience is a bit too crowded, with an audience missing out on seeing the full extent of the ballerina’s performance, like the ‘finishing move’ in The Karate Kid 2 we are left to fill in the blanks: oh, I see. Her expression is pained, her ankle is twisting, she must be giving it her all. One can of course argue that this is a film solely about the psychological stresses involved in the performance of high art expressed as a horror film as opposed to the dancing itself. It is interesting what real ballerinas thought of the film regardless.
In regards to the film’s script, Perfect Blue is a 1997 anime that dealt with issues similar to Black Swan, such as fame, perception of self and subjective reality. Darren Aronofsky owns the rights to Perfect Blue as he recreated a scene from the film in the fantastic, challenging and disturbing Requiem for a Dream. Perfect Blue is an amazing Hitchokian psychological thriller in its own right. It seems that Aronofsky is milking this one great reference instead of just dedicating himself to a fantastic live-action remake. Heck! Even the main character in Perfect Blue is called ‘Mina’. It should also be noted that Black Swan is also an off-cut to The Wrestler. Originally, the film was to mirror the lives of a wrestler and a ballerina in their various art forms, however Arronofsky obviously chose to split the two, now calling Black Swan a companion-piece to The Wrestler.
Rating:
Not as challenging as Arronofsky’s previous efforts, the movie follows this year’s Oscar hopefuls as a flat, straight forward story (True Grit). Black Swan may be a fine movie by itself but in no way is it in the same league as previous Arronofsky films or Perfect Blue. Too blunt, too obvious and too clichéd when compared to its references, Black Swan is an underwhelming experience: 2.5 fingernails out of 5.
See what David and Margaret have to say, and check out the trailer!
Luke McWilliams February 2011