Time Lapse (2014)

2015 #25
Bradley King | 99 mins | streaming (HD) | 16:9 | USA / English

Time LapseShallow Grave meets Primer in this indie thriller that sees three housemates discover a camera that takes photos 24 hours into the future. They initially use it to their financial advantage, but soon Things Go Wrong™.

Time Lapse has a sci-fi setup, but it’s a film driven by its characters rather than its high concept. The whys and hows of the machine are incidental (who created it and what happened to him is a plot point, but how he did it isn’t), it’s what it does to the characters that matters. The images of the future soon depict tableaux that throw their relationships with one another into question. Moments are seen that one or more of them wouldn’t like the others to see. But if they know the camera is there, why would they do that in front of it? And do they have to recreate it? What happens to Time Itself™ if they don’t?

So it’s a thriller, really, albeit one about three normal characters and their relationships rather than the usual thriller stomping grounds of terrorists or criminals (although there are a few of the latter). There are answers to the mysteries, and at least one game-changing twist that’s an absolute killer. Co-writer/director Bradley King does a first-class job of concealing its presence, only for its reveal to be damningly obvious and explain some things you mightn’t’ve thought would be explained — pretty much a perfect kind of twist, in other words.

Oh no...The very low-key nature of Time Lapse will put some people off. If you like your sci-fi full of action or scientists or world-saving/changing endeavours, it’s not for you. If you like sci-fi where an impossible concept throws ordinary people into dilemmas about themselves and each other, this is a well-conceived drama. Add in an engrossing mystery element that keeps you questioning and guessing until the end, and you have a minor gem.

4 out of 5

Time Lapse is released in US theaters and on demand today, and on Blu-ray from Tuesday June 16th. In the UK, it’s already available on Sky Movies and Now TV, and to rent or buy through all the usual digital providers.

(Despite the latter, the film seems to have no official BBFC rating (Sky go with 15; Amazon say U; iTunes keep schtum), which I’m pretty sure is illegal…)

Mad Max 2 (1981)

aka The Road Warrior

2015 #42
George Miller | 91 mins | streaming (HD) | 2.35:1 | Australia / English | 18 / R

Mad Max 2Roaming the outback of a gasoline-desperate post-apocalyptic Australia, “Mad” Max Rockatansky (Mel Gibson) comes across a commune-like oil refinery, whose inhabitants are under siege by a brutally violent gang. Max strikes a bargain: he’ll help them escape with their oil, in exchange for a tank full for himself.

I’m not going to be the first to point out that, in terms of its plot, Mad Max 2 is essentially a Western: a drifter comes across a small community under siege and agrees to defend them purely out of self interest. Of course, the whole “post-apocalyptic wasteland battle for car fuel” isn’t such a traditional genre element. But let’s not get into a debate about whether a film has to be set in the Old West to be considered a Western (though my verdict is it does — flip it around: no one calls The Magnificent Seven a samurai movie because it took its plot from Seven Samurai, do they?) Anyway, the advantage of transplanting the storyline to a new time and place is it makes it feel moderately fresh. There’s an unpredictability to who people will side with and when, which, to be honest, is considerably less unpredictable when you spot the genre parallels.

With such a staple story, the film’s real delights are to be found elsewhere. The design work is first rate, whether that’s the scary bondage-themed gang or the array of vehicles that populate both sides of the conflict. The location allows for some grand scenery — I suppose the oil refinery set is quite modest, really, but place it in the middle of nowhere with cars swarming around it like insects and it looks epic. Without meaning to spoil anything, its ultimate fate is definitely momentous.

Mad to the boneThe most memorable part, however, is the climax. They escape the oil refinery, Max driving the tanker — fitted out with weaponry and defences — and the gang give chase. An almighty action sequence follows, a speeding battle through the outback. It feels wrong to just call it “an action sequence”, like that’s selling it short. You get the sense that this is why the movie exists; that co-writer/director George Miller’s goal with the entire rest of the film has been to get us to this point. It’s not just “the climax”, it’s “the third act”, and it’s stunning — the choreography of it, the editing, the stunts, as dozens of vehicles chase each other, people run around on top of them, jump between them… I don’t think it’s hyperbolic to say it must be one of the greatest action sequences ever committed to film. One of the reasons Fury Road looks so good is the trailers seem to suggest it’s this sequence turned into an entire movie, and I’d have no problem with that (maybe that’s just the trailer highlighting the action; either way, even critics love the result).

Mad Max 2 cherry-picks some of the best aspects of Westerns and post-apocalyptic movies, combines them with tightly-constructed, heart-pumping action scenes, and produces a sci-fi-action-Western of the highest, most entertaining calibre. After the first Mad Max, I sort of wondered why the franchise was so beloved. The sequel is the answer.

5 out of 5

Mad Max: Fury Road is in UK cinemas from tomorrow.

Mad Max 2 placed 2nd on my list of The Ten Best Films I Saw For the First Time in 2015, which can be read in full here.

Tropic Thunder: Director’s Cut (2008)

2015 #24
Ben Stiller | 116 mins | DVD | 2.35:1 | USA, UK & Germany / English & Mandarin | 15

Tropic Thunder: Director's CutA bunch of obstreperous actors are too much to handle for the director of a Vietnam war movie, so he dumps them in the jungle to shoot it with hidden cameras. Things go awry; hilarity ensues.

Conceived by co-writer/director Ben Stiller in the ’80s when all his actor friends were in war movies, “struggling” with training boot camps that made them feel like they were “really in the army”, the idea of skewering pretentious actors hasn’t dated in the intervening decades, though the specific targets may have been updated. De facto lead is Ben Stiller as a cheesy action star looking to go legit with a serious movie, but best is Robert Downey Jr.’s Oscar-nominated turn as a Daniel Day-Lewis/Russell Crowe-type actor, who has an operation to dye his skin so he can play a black character. Less well-served among the leads is Jack Black, as the drug-addicted star of a series of ‘comedies’ based around fat suits and fart gags, who feels superfluous more often than not.

Following events from the safety of Hollywood are a pre-McConaissance* Matthew McConaughey as Stiller’s agent, and a Surprise Cameo™ as the film’s other best character, studio head Les Grossman (I imagine you’ve learnt who that is at some point in the last seven years, but in case not…) There’s an element of Hollywood-insider comedy to some parts of this, I suppose, but the characters are broad enough to generate laughs from a wider audience too.

Character buildingThe film may run a little long in the middle, though I don’t think that’s the fault of this extended cut. It adds just over 17 minutes across many little changes and extensions according to movie-censorship.com, but the most notable of these are character-building beats that struck me as fairly worthwhile. Nonetheless, it’s not so padded that it outstays its welcome, generating pretty consistent laughs.

While not all the gags or characters may land, there’s enough that works (mainly thanks to Downey Jr and Mr Surprise Cameo™) to render Tropic Thunder a jocular pillorying of The Movies.

4 out of 5

* I would like to apologise now for using that term. ^

Killing Them Softly (2012)

2015 #57
Andrew Dominik | 93 mins | TV | 2.35:1 | USA / English | 18 / R

Killing Them SoftlyAs presidential nominee Barack Obama talks about the American Dream, in a run-down corner of the nation a trio of small-timers plot a robbery, landing them in hot water with some nasty people.

Writer-director Dominik uses news audio about the financial crisis to comment on the plot, an inclusion somewhere between neat dramatic irony and heavy-handed affectation. He gets better mileage from the mundane mechanics and economics of organised crime, but it’s small consolation among flabby storytelling: pointless subplots; flashy camerawork that contains little weight or meaning (ironically); even well written and performed scenes eventually drag, outstaying their welcome.

Disappointing.

2 out of 5

Killing Them Softly is on Film4 tonight at 10:55pm.

Avengers Confidential: Black Widow & Punisher (2014)

2015 #59
Kenichi Shimizu | 83 mins | streaming (HD) | 16:9 | USA & Japan / English | 12 / PG-13

Avengers ConfidentialAnime take on Marvel properties. S.H.I.E.L.D. agent Black Widow teams up with vigilante Frank Castle, aka the Punisher, to investigate a threat to global security.

A clichéd, heavy-handed screenplay and stilted line delivery tell a rote story through talky exposition scenes and uninspired action sequences, with little joy to be found in the design or animation either. Some bigger-name Avengers turn up for the climax, but they’re a motley crew of random choices (Captain Marvel?), most of whom don’t even get any dialogue.

Marvel may own the live-action superhero arena right now, but DC remain the clear frontrunner in animation.

2 out of 5

Avengers Confidential featured on my list of The Five Worst Films I Saw in 2015, which can be read in full here.

Belatedly, it’s April 2015

Let’s look back to a time, not so long ago, when the Duke and Duchess of Cambridge only had one child…

(There will be no more royal references in this post. Just in case you for some reason thought there might be.)


April’s films
Man of Tai Chi
#45 How to Train Your Dragon 2 (2014)
#46 The Rocketeer (1991)
#47 Pain & Gain (2013)
#48 Monsters University (2013)
#49 Man of Tai Chi (2013)
#50 High Noon (1952)
#51 White House Down (2013)
#52 A Million Ways to Die in the West (2014)
#53 Bernie (2011)
The Philadelphia Story#54 The Philadelphia Story (1940)
#55 Olympus Has Fallen (2013)
#56 Room 237 (2012)
#57 Killing Them Softly (2012)
#58 Blitz (2011)
#59 Avengers Confidential: Black Widow & Punisher (2014)

Also this month…

#— Transformers: Age of Extinction (2014)


Viewing Notes

  • I accidentally ended the month with a run of really poor and/or disappointing films, so that’s a shame.
  • No WDYMYHS film again. Time to put some effort into getting back on track.


Analysis

Sometimes, ensuring you watch a set number of films each month — as I am this year, of course, at ten a month — requires some forward planning. This month, for example, I’m away for the last week-ish, which is obviously the prime time for making up shortfalling numbers; plus, with Daredevil’s first season landing all at once on Netflix, Game of Thrones returning to screens, and season three of The Americans coming to an end (I save it all up and watch episodes daily. It suits it well), there’s a lot of exciting TV to fit in. So I ‘front-loaded’ the month, reaching ten films in 12 days. Planning, see.

Nonetheless, I went on to watch another five films, for an April total of 15. That surpasses the April average (7.3), beats last April’s tally (11), and makes it the highest April ever. It also slightly increases 2015’s monthly average, which previously stood at 14.67 and is now 14.75. If I continue at this rate, 2015 will end up around #177; if I stick to my ten-per-month minimum, I’ll clock up at least 139 — a new record.

Finally, this April also has the distinction of being the earliest I’ve ever made it to #50, which I reached on the 8th. The previous best was 6th May in 2011, so that’s that thoroughly bested. (For reference, I’ve reached the halfway point in May four times, in June twice, and once each in August and September.)


This month’s archive reviews

As well as the 25 archive reviews listed below, this month I also shared some thoughts on star ratings from back in 2011.


Next month on 100 Films in a Year…

The update will hopefully be on time.

Valkyrie (2008)

2015 #41
Bryan Singer | 108 mins* | TV | 16:9 | USA & Germany / English | 12 / PG-13

On the 70th anniversary of Hitler’s death, the true story of some people who tried to kill him…

ValkyrieAfter abandoning the X-Men franchise for a Superman reboot/continuation that was retrospectively branded a commercial and critical flop (it actually grossed $391 million worldwide (more than Batman Begins, for example) and has a fairly strong Rotten Tomatoes score of 76%), director Bryan Singer returned to more traditionally dramatic fare — and Nazis — with this true-story war movie about a German plot to assassinate Hitler.

Tom Cruise is Colonel Claus von Stauffenberg, an army officer who believes Hitler needs to be removed for the sake of Germany’s future. Invalided home after an RAF raid, he discovers he’s far from alone in his beliefs when he’s recruited into a conspiratorial group who have already failed to assassinate Hitler several times. There he concocts a plan to take out Hitler with a bomb during his weekly briefing at the Wolf’s Lair, blame it on the SS, and use the Führer’s own Operation Valkyrie contingency plan to seize control before any of his cronies can do it first.

There’s no point beating about the bush: they don’t succeed. We all know that. The film’s marvel, really, is in making us believe they might. Well, not believe it — we’re not stupid, are we? — but invest in it. It’s also a revelation how far they got. No, Hitler isn’t killed, but the associated confusion engineered by the plan (they cut off communications from the remote Wolf’s Lair, meaning the news that Hitler survived takes a long time to come out) means an awful lot of Valkyrie is enacted. In the end, they’re done for by bad luck — some people make some decisions which undermine the plan, whereas if they’d gone the other way it might have succeeded even with the Fuhrer still alive. What might have been…

Edge-of-your-seat tensionOne of the stated aims of the conspiracy is to show the rest of the world that not everyone in Germany believed in what Hitler and his inner circle were doing. It may have taken us a long time to realise that, for fairly understandable reasons, but quality films like this help get the message out. Singer has crafted a proper thriller here, replete with scenes of edge-of-your-seat tension. Many a filmmaker can’t manage that with a fictional storyline, never mind one where we know exactly how it turns out.

A top-drawer cast help keep the drama ticking over too. Complaints that accompanied the theatrical release, about the German characters all speaking English, feel thoroughly bizarre. How many movies in history have foreigners all speaking English? I mean, what about Schindler’s List, for just one broadly-related broadly-recent example. Have we really reached a point where everyone is so accepting of subtitles? No, of course we haven’t. I think it’s a baseless criticism to latch on to; one that misses the point so severely it’s difficult to think how to rationally argue against. It’s just wrong. Anyway, most of the cast are British thesps — Kenneth Branagh, Bill Nighy, Tom Wilkinson, Kevin McNally, David Schofield, Tom Hollander, even Eddie Izzard — so you’re guaranteed quality. Even Terence Stamp proves that he can act, in spite of what some other performances would have me believe. Cruise is a suitable leading man. This isn’t one of his greater acting performances, Brave men who tried to do the right thingbut nor is he in simplistic action hero mode.

Elucidating a sometimes-overlooked aspect of an over-covered era of history, managing to tell its story with all the thrills and tension of a narrative where we don’t know the outcome, Valkyrie is a film to be commended. It’s also a fitting tribute to very brave men on the ‘other side’ who tried to do the right thing.

4 out of 5

* I always try to list the running time of the version I watched, but I feel this one needs a quick explanation, because it’s a full 13 minutes less than the listed running time. Was it cut? Probably not. I watched it on TV, with PAL speed-up and end credits almost entirely shorn. PAL gets you down to 115 minutes; I can well believe there were seven minutes more to the full credits. So there you go. ^

100 Films is away…

Aside

Unfortunately I’m going to be away for the rest of the week, which is primarily of note here because it means no monthly update on Friday.

Probably. I reserve the right to gain access to a computer with rudimentary image editing software and knock one up nonetheless (because the header image is the most essential part of those updates…)

The Sugarland Express (1974)

2015 #10
Steven Spielberg | 105 mins | TV | 16:9 | USA / English | PG / PG

The Sugarland ExpressSteven Spielberg’s second feature (or “first” if you’re American) is based, loosely, on a true story. The fictionalised version sees Lou Jean (Goldie Hawn) breaking her husband (William Atherton) out of prison so they can travel cross state to liberate their baby from foster care. Everything goes smoothly until they accidentally kidnap a police officer (Michael Sacks), hundreds of police cars begin to follow them, and a multi-day slow-paced chase ensues.

It’s probably not obvious from the whole prison break/kidnap/true story thing, but The Sugarland Express is more of a comedy than a thriller. The ludicrousness of the situation is ramped up, though Spielberg keeps it grounded enough that you can believe it was real, and with an undercurrent of potential violence from the police that suggests a tragic ending may be unavoidable. Credit also to the cast for maintaining this balance, in particular Hawn, for who this was a breakout role. She’s naïve and optimistic without being too annoying, her comedic airheadedness weighed against an earnest belief that she’s doing the right thing for her child and that it’s all going to work out in the end.

Spielberg makes full use of the 2.35:1 frame’s width, which means that, viewed on broadcast TV at 16:9, it’s often noticeably cropped (this having been made before the time Three's a crowdwhen filmmakers became contractually obliged to keep their compositions “TV safe”). The camerawork is frequently extraordinary, including at least one unbroken shot where the camera moves around inside and outside the car, like something out of Children of Men — only done for real in a moving vehicle, unlike Alfonso Cuarón’s soundstage-based hidden-cuts version.

Largely overlooked these days, I guess because it doesn’t obviously fit with Spielberg’s renowned sci-fi, adventure, and worthy-historical pictures, The Sugarland Express merits more attention. Tonally, and in terms of the level of directorial skill it exhibits, it fits right amongst the pack of his better-remembered works. Not his best picture, but able to stand confidently alongside his numerous very-good ones.

4 out of 5

The Sugarland Express is released on standalone Blu-ray (as are the three other films previously available exclusively in the Steven Spielberg Director’s Collection box set) next Monday, May 4th.

Pain & Gain (2013)

2015 #47
Michael Bay | 124 mins | streaming (HD) | 2.35:1 | USA / English | 15 / R

Pain and GainFor his first non-sci-fi movie in a decade, divisive action director Michael Bay channels Tarantino (kinda) for this based-on-a-true-story crime comedy. Dwayne “The Rock” Johnson, Mark “Marky Mark” Wahlberg and Anthony “The Falcon” Mackie star as a gang of dimwitted Florida bodybuilders who come up with a ‘foolproof’ plan to rob a rich gym client.

That comparison to Tarantino is lifted from Now TV’s description of the film, and I don’t quite agree with it. Pain & Gain is certainly a comedic crime movie, the kind of thing Tarantino was known for before he got diverted into genre B-movie homage/parodies, but it doesn’t feel like a Tarantino movie — which, considering the innumerable films that do rip-off his ’90s style (even today), is only a good thing. I wouldn’t say Bay’s movie feels wholly unique or original, but I don’t think it’s Tarantino he’s riffing off.

Nonetheless, the film’s best asset is its humour, much of it derived from dialogue. Proceedings take a little while to warm up, with some character backstory flashbacks that aren’t always necessary and seem to befuddle the narrative, but once it settles down into the crime spree, it’s consistently hilarious. Bay has pitched the tone exactly right, playing it straight but with an OTT edge that betrays awareness of the ludicrousness of it all. Towards the end, when events have reached a point of total ridiculousness, he throws up an onscreen caption to announce, “This is still a true story.” That’s witty. (Though, ironically, it appears during one of the few bits the filmmakers did actually make up!)

Adept at comedyBay is aided by leads who are surprisingly adept at comedy. Johnson is the best thing in it, consistently hilarious as his conscience battles former addictions and newfound religious convictions. I noted down some of his best lines to quote in the review, but they lose something without his delivery.

I suppose there is a question of whether this tone really is appropriate: as these are real-life events, should we be finding them so funny? It is kind of tasteless. I suppose you could parlay that into a discussion about the comedic crime sub-genre on the whole: is it okay to laugh at this kind of behaviour so long as it’s been dreamt up in the mind of some (wannabe-)auteur, but as soon as someone actually did it for real, a film of those events has crossed the line. Is that a sound argument? If you’re going to find a fictionalised account of the real-life version abhorrent, shouldn’t we similarly find the wholly-fictional version similarly poor? It’s a moral quandary I don’t really have an answer for because, when all is said and done, what the real guys did was horrendous, but the way they went about it was ludicrous and is almost unavoidably darkly funny in the re-telling. I certainly laughed.

Gaining painAfter he’s become so sidetracked making the awful Transformers movies, it’s easy to forget that Bay was once a quality action filmmaker. His works may not have class, but they had style and panache befitting the genre — The Rock, in particular, is a ’90s action classic. Pain & Gain isn’t exactly a return to form because it’s not the same kind of movie, but it is the first Bay movie for at least a decade that’s really worth your time.

4 out of 5