The Fate of the Furious (aka Fast & Furious 8, 2017)

An enormously silly movie. The gang is still led by Vin Diesel’s Dom, but his allegiances are placed into question by the arrival on the scene of cyberterrorist Cipher (Charlize Theron). The script still throws around the word “family” the requisite number of times, and truly my heart is warmed by seeing Jason Statham properly brought into the fold — even if he’s still somewhat an anti-hero, he is at least now aligned with the forces of good, with a rather heavy-handed Hard Boiled hommage which nevertheless plays into Statham’s established heroic character trait of protecting kids. And yet… and yet, I’m not convinced. I’m not convinced by Dom’s actions, nor by Charlize’s villain — though, incidentally, possibly the most furious thing in the film is the fingers of her and Nathalie Emmanuel’s hacktivist Ramsey (introduced in the last film), as they (ridiculously) hack and counter-hack one another. I’m also not convinced by the fate of poor Elsa Pataky, sidelined since Michelle Rodriguez returned in the sixth film. Look, I still like everyone involved and I’ll still go see number nine (can I get an early vote in for some kind of K9 pun?) but this isn’t their finest work.


NEW RELEASE FILM REVIEW
Director F. Gary Gray | Writer Chris Morgan | Cinematographers Stephen F. Windon | Starring Vin Diesel, Dwayne Johnson, Jason Statham, Michelle Rodriguez, Kurt Russell, Charlize Theron | Length 136 minutes || Seen at Cineworld Holloway Road, London, Friday 14 April 2017

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Spy (2015)

I hated Paul Feig’s last collaboration with Melissa McCarthy, The Heat, so it’s fair to say I wasn’t expecting much out of this return to another well-worn genre (guess which). And though it’s not perfect in every respect, thankfully it’s a lot better — and more sustainedly funny, too. The set-up is that Susan Cooper (McCarthy) plays a shy back-room support role for Jude Law’s suave agent in the field, but when he is taken out of the picture she needs to step up to become a field agent herself. British TV audiences might have difficulty accepting Miranda Hart as a bumbling best friend, or Peter Serafinowicz as a sleazy Italian, but the way these archetypes are framed within the story is certainly done with a lot more intelligence than this year’s Kingsman: The Secret Service, another (apparently) comic take on the James Bond ethos. Perhaps best of all — surprisingly — is Jason Statham, as an utterly unironic (and therefore hilarious) spy film superhero, embodying all the worst traits of Bond, and easily confounded by Susan Cooper. The simple twist is handled with aplomb, and McCarthy puts across her best comedy performance yet (especially when she sheds the shy persona to take control), but most importantly, Spy is funny when it needs to be.


© 20th Century Fox

NEW RELEASE FILM REVIEW
Director/Writer Paul Feig | Cinematographer Robert Yeoman | Starring Melissa McCarthy, Jason Statham, Rose Byrne, Miranda Hart, Jude Law | Length 120 minutes || Seen at Peckhamplex, London, Saturday 13 June 2015

April 2015 Film Viewing Round-Up

Herewith some brief thoughts about films I saw in April which I didn’t review in full. It includes a couple of films I actually saw in March but had thought I’d write up in their own posts (I didn’t).


Avengers: Age of Ultron (2015)

Avengers: Age of Ultron (2015, USA, dir. Joss Whedon) [Sat 25 Apr at Cineworld Wood Green]. Look at how crowded that poster is and you’ll get some sense of the film, assuming you haven’t already seen it. I enjoyed it perfectly fine, but I get the sense that whereas for the average punter, it’s a long film, for fans of yr Marvel Cinematic Universe and those who are heavily invested in these characters, it’s probably not long enough. They even add new characters (one of whose superpowers I’m still not clear about, but perhaps it’s the power to do whatever’s required by the narrative at any given point). The crowdedness of the ensemble cast is evident in the number of scenes where everyone’s just standing around, stepping forward periodically to deliver their line and then stepping back. Whedon does the best he can and adds those nice little self-aware lines which define his work (like Linda Cardellini’s “I’ll always support your avenging…”, not the mention the snarky asides) but it’s still a big pummelling superhero film that has a protracted denouement, a nonsense evil villain plan (though James Spader is always dependable in such a role) and lots and lots of CGI effects (which are at times so indifferently executed I thought I was actually watching a video game, as in the opening sequence). YMMV. ***


The Book of Life (2014)

The Book of Life (2014, USA, dir. Jorge R. Gutiérrez) [Mon 6 Apr on a plane]. A film I missed when it came out was available on my trip over to the States, so I availed myself of the opportunity, and even given the small size of the screen, it still impressed by its artful and gorgeously-coloured use of Mexican motifs in its story of rival suitors for a lady’s affections. It nods towards female empowerment, even if it has an old-fashioned adventure feel, but ultimately it’s the richly textured design that saves it. ***


En duva satt på en gren och funderade på tillvaron (A Pigeon Sat on a Branch Reflecting on Existence, 2014)

En duva satt på en gren och funderade på tillvaron (A Pigeon Sat on a Branch Reflecting on Existence) (2014, Sweden/Norway/Germany/France, dir. Roy Andersson) [Thu 30 Apr at Curzon Soho]. Its pace is slow and deliberate, constructed in a series of tableaux-like images which frequently fade to black before the next image commences, and in many ways it takes its cue from that first scene, in which a tourist couple examine birds in glass cases, one of which is the titular (stuffed) pigeon. The humans throughout the film are themselves as waxy and pallid as dead creatures placed on display, and the sets are deliberately minimal in a depressingly beige way. But while Roy Andersson’s film is nominally a (black, deadpan) comedy, it’s really a cautionary moral tale of the bleak dangers inherent in capitalism, as our two Beckettian like heroes wander through a glum dyspeptic world retailing their ‘comedy’ joke items to little interest. There are restrained outbreaks of weirdness — jaunty songs, alternate realities, dreams — which suggest something deeper is going on, and indeed I think this one will work in most people’s minds afterwards, even if it sometimes seems a little inert while it’s going on. ***


Insurgent (aka The Divergent Series: Insurgent, 2015)

Insurgent (aka The Divergent Series: Insurgent) (2015, USA, dir. Robert Schwentke) [Sun 29 Mar at Cineworld West India Quay]. Having enjoyed star Shailene Woodley’s work elsewhere, I decided to watch the first film in the Divergent series in anticipation of this new one (and reviewed it in my March roundup). Usually the way these kinds of series go is that they drop off in quality with each successive instalment, but the first set up such a ridiculous and unbelievable world (dividing everyone into mutually-exclusive castes based on ability) that the bar wasn’t too high, and indeed has been cleared by Insurgent. I’m not saying the second film is a triumph — the world is still constructed along weirdly rigid lines, and the test that evil leader Jeanine (Kate Winslet) sets for Woodley’s Tris is a bit confusing — but it opens up its world in interesting ways and sets up a next episode that I’m actually looking forward to.


Notting Hill (1999)

Notting Hill (1999, UK, dir. Roger Michell) [Sun 19 Apr on a plane]. I’m probably not supposed to like this, but what can you do. Every time it comes on — and I only tend to watch it when it’s there right in front of me — I end up watching the whole thing, and this has happened more than once, so it’s not just some kind of momentary weakness. I’ve not been sold on all screenwriter Richard Curtis’s films, though I’ve liked more than I’ve disliked, but Notting Hill just seems to work despite all its inherent naffness. Julia Roberts plays a big-time Hollywood star, Hugh Grant is a diffident English bookshop owner, they meet cute, one things leads to another, there are some funny setpieces, and well, it passes the time very pleasantly. **½


Pitch Perfect (2012)

Pitch Perfect (2012, USA, dir. Jason Moore) [Fri 24 Apr at a friend’s flat]. I’ve reviewed it before, and it’ll probably show up on this list many times more in the future, because I do love Pitch Perfect. It’s not just Anna Kendrick, whom I’ve recently had cause to hymn once again for The Last Five Years, but the ensemble cast and the time-honoured building-to-a-big-showdown narrative construction, not to mention the hummable music. ****


Premium Rush (2012)

Premium Rush (2012, USA, dir. David Koepp) [Sat 4 Apr at home]. At a certain level this is a fairly slight premise — Joseph Gordon-Levitt’s bicycle courier must deliver a package across Manhattan by a deadline, hotly pursued by Michael Shannon’s corrupt cop — but this is essentially an action film, and you don’t want to complicate the purity too much. That said, the filmmakers weave in a story of immigration and bureaucratic corruption without overwhelming the central chase motif, which is handled with a great deal of vigour and momentum. It also (as far as I can tell) charts a realistic depiction of New York geography as Gordon-Levitt frantically switches up routes to his destination. ***½


Wild Card (2015)

Wild Card (2015, USA, dir. Simon West) [Tue 31 Mar at Cineworld Wood Green]. The great Jason Statham returns in another action romp which as per some other recent outings, shows just a hint of actorly character development around the edges, as he essays the role of Nick Wild, Las Vegas security specialist. Most of the big name cast members (and there are a few: Jason Alexander, Stanley Tucci, Sofia Vergara, Hope Davis, Anne Heche) are there for single scenes only, leaving the main showdown to be between Statham and Milo Ventimiglia as a narcissistic, abusive gangster. If you’ve seen a Statham actioner before, you’ll probably recognise the broad contours, but in the tightness of the filming and the polish of the script this one is probably his best since Safe. ***

Furious 7 (aka Fast & Furious 7, 2015)

I was excited for this film after seeing the previous instalment, especially having watched the rest of the franchise ahead of that release (and blogged about it, of course), but the past couple of years have brought the sadness of star Paul Walker’s death and subsequent uncertainty about what might happen with the promised seventh film. Well, of course, they totted up the numbers and going ahead was probably never in doubt, but the filmmakers (including a new director) have also managed to sustain the action momentum well for the seventh instalment: all you need to know is that the baddie of the sixth film is being avenged by his brother (Jason Statham) and our team get help from some spooks (led by Kurt Russell). Certainly there are the occasional intrusions of low-angle shots on short-skirted women in glamorous exotic settings, and there remain stretches of (thankfully, not quite mawkish) sentimentality — a feature throughout the franchise. However, there’s genuine pathos in the scenes with Paul Walker near the end of the film, in ‘retirement’ with his family on the beach, and for the most part this film takes all those most hyperactive and ridiculous elements of the sixth film and amps them up (skydiving cars in the mountains! stunt car leaps between skyscrapers! the Rock working an office desk job!), such that there’s very little reprieve from relentless action-oriented silliness, so if this isn’t your thing, then (1) you are missing out on one of cinema’s true delights, and (2) maybe the Fast & Furious series isn’t for you. Still, it works for me and (box office figures suggest) much of the rest of the world’s cinema-going population, so no doubt we’ll be seeing an eighth soon enough. In the meantime, this is an excellent swansong for the always underrated (admittedly by me also) Paul Walker. Oh, and there’s also a bafflingly bonkers recurring reference to Belgian ale, as if the filmmakers, obliged to include Corona product placement, felt they also had to wink at us that there’s better beer out there… So cheers. I raise a glass of Orval to another Furious film.


© Universal Pictures

NEW RELEASE FILM REVIEW
Director James Wan | Writer Chris Morgan | Cinematographers Marc Spicer and Stephen F. Windon | Starring Vin Diesel, Paul Walker, Michelle Rodriguez, Jason Statham, Dwayne Johnson, Kurt Russell | Length 137 minutes || Seen at Cineworld Haymarket, London, Friday 3 April 2015

Hummingbird (aka Redemption, 2013)

FILM REVIEW || Seen at home (Blu-ray), London, Wednesday 2 July 2014 || My Rating 2.5 stars likeable


© Lionsgate

I think it’s fair to say that Jason Statham has carved himself out a fruitful corner of the action film genre and his oeuvre already incorporates a number of familiar elements. It was said upon Hummingbird‘s release that it marked something of a departure, a more serious actorly turn for this most unchallenging of screen presences. Indeed, there is a bit of subtlety to his backstory as a former soldier in Afghanistan who is scarred by some enigmatic (and ultimately, never fully satisfying) event in his past. Yet, there’s also plenty to link it to Statham’s already burgeoning filmography. There are the revenge plot elements (he has the most perfunctorily set-up relationship with a young woman at the start and we have to endure that peculiarly reprehensible trope of character-building: a woman dying to further a male lead’s emotional depth) and there’s even a young daughter (it’s always a young daughter or daughter-surrogate in his films) with whose mother he clearly has a very strained relationship. However, I don’t mean to denigrate the film’s evident strengths, which are mostly expressed through the central relationship between Statham’s character Joey — initially seen as a homeless outdoor sleeper in London’s Soho — and a Polish nun, Sister Cristina, who works at a Covent Garden soup kitchen. It strains credulity at times (though not as much as the plot contrivance which sees Joey gain unrestricted access to a swanky Covent Garden loft apartment for nine months), but the relationship between this unlikely couple is even touching at times. Statham continues to make enjoyably silly action films, but there’s hope yet for some extension to his actorly range.


CREDITS || Director/Writer Steven Knight | Cinematographer Chris Menges | Starring Jason Statham, Agata Buzek | Length 100 minutes

Safe (2012)


FILM REVIEW || Director/Writer Boaz Yakin | Cinematographer Stefan Czapsky | Starring Jason Statham, Catherine Chan, Robert John Burke, James Hong, Chris Sarandon | Length 90 minutes | Seen at home (Blu-ray), London, Friday 27 December 2013 || My Rating 3 stars good


© Lionsgate

I’ve not yet seen enough Statham movies to discern the particular mechanics by which he has acceded to action film superhero status — aside obviously from his competence at fight choreography — but comparing this film to the recent Homefront suggests that being a father figure to young, life-hardened but yet vulnerable girls is part of his persona. In Safe, for example, he has to protect Mei (Catherine Chan) from a triple threat of Chinese triads, Russian mafia and corrupt New York cops. The script, also by director Boaz Yakin, is hardly going to win any plaudits for its sensitive portrayal of New York’s criminal underbelly, but then the action film genre is hardly the place to do this. Instead, what the film has is plenty of taut, well-directed and well-staged action sequences — which at least puts it ahead of the aforementioned Homefront — and some small but touching hints at vulnerability on the part of Statham and his pre-adolescent charge.

Continue reading “Safe (2012)”

Homefront (2013)


NEW RELEASE FILM REVIEW || Director Gary Fleder | Writer Sylvester Stallone (based on the novel by Chuck Logan) | Cinematographer Theo van de Sande | Starring Jason Statham, James Franco, Izabela Vidovic, Winona Ryder | Length 100 minutes | Seen at Cineworld Wood Green, London, Monday 9 December 2013 || My Rating 2.5 stars likeable


© Open Road Films

Jason Statham has been plugging away at playing the cinematic hardman in a series of taut if unchallenging action films (like this year’s Parker) for the best part of the last decade, and by this point largely exists in a separate cinematic universe where he is a major star. He may never trouble any of the backslapping industry awards for achievements in acting, but in his genre he’s a far more notable figure than, say, James Franco, which is why it’s rather a surprise to see Franco here. Then again, Franco has a notable sideline in taking roles for what I can only call the WTF value, so perhaps I’m overstating my case. At any account, Statham is the real draw and if the pleasures of this retrogressive B-flick are firmly in the right-wing vigilante-justice side of the ledger — Statham’s former undercover cop Phil flees the big city with his daughter after a big showdown with a gang leader to lead a quiet life by the Louisiana bayous, but trouble predictably follows him — it’s still enjoyable for what it is.

Continue reading “Homefront (2013)”

Parker (2013)

I might as well just start right off by saying that, at many levels, this is not an objectively good film, but I’m fine with that. Films of this nature — heist/revenge action flicks — have no business straining for higher meaning, or seeking to universalise the human experience, or whatever. There should be some intricately-detailed plotting involving the liberation of precious and high-monetary-value things, there should be some good villains, there should be a solid moral centre, and there should be some tension in the various interactions between these elements.

The character of Parker is the antihero at the moral centre of the film: sure, he’s a thief, but as so many in fiction, he has principles. His accomplices in the film’s opening heist (the best setpiece in the film, to my mind) do him a wrong, and he spends the film putting that right. And like Walker in Point Blank (1967), based on the same character, all he wants is the money he’s owed. Playing Parker, Jason Statham is adequate. His elocution can at times be difficult to pick up, and he’s not great at accents, but he has the gruffness and directness you expect from an action hero.

The strength of the film, and a weakness of the plotting, is Jennifer Lopez. Her character is basically unnecessary to the central thrust of the narrative (Parker’s revenge) and could easily be dispensed with, yet scene after scene is written seemingly to showcase her acting, without really moving things along much. The interactions between her and a local police officer could be spun off into another (quite different) film. There’s also an odd minute or two where the film basically stops, shifting suddenly into quite different emotional terrain, as Lopez’s struggling estate agent delivers a monologue explaining why she is compelled to help Parker, despite not really knowing anything about him (though even this tenuous backstory justification is dispensed with for her mother, who helps Parker, bloody and battered and dripping blood over her dog, on even less pretext). It’s not even as if this is in aid of a romantic sub-plot; Parker has a girlfriend and, however perfunctory her appearance may be, it’s clear he’s not going to pursue Lopez.

And yet she is delightful, and I’m reminded how much I’ve missed her acting in the many years since Out of Sight (1998) — which shares some of the same sun-dappled Floridian settings as Parker (the latter primarily set in Palm Beach). Her role is essentially as a comedic interlude, intended perhaps to soften some of Statham’s gravelly dourness, and though it doesn’t seem to lighten him up, it was good to see her being given some quality screentime. She has a light touch, bringing to her character a similar kind of vulnerable winsomeness that, say, Rashida Jones brings to TV’s Parks and Recreation. It’s only a pity she hasn’t been in more films in the interim: unlike so many of the other actors here (some of whom have excellent acting pedigrees), she makes it seem effortless.

As for the rest of the film, it’s largely by-the-numbers. The villains are suitably villainous (never betraying any hint of ambiguity), and — Lopez’s character aside — the plot mechanics move everything along swiftly, all elements orchestrated nimbly by the director. There’s some ludicrous and baffling dialogue at times, and there’s a real physicality about the beaten, bloody and bruised bodies on display. There’s also a coda that made me realise that I’d already forgotten characters and plots points from earlier in the film — which may say something about my terrible memory, but also about quite how transitory the film’s pleasures are. Yet there are definitely some pleasures to be had, if you accept its retrogressive generic tropes. It’s difficult for me to wholeheartedly recommend it as a film, but I can’t dismiss it either.


© FilmDistrict

NEW RELEASE FILM REVIEW
Director Taylor Hackford | Writer John J. McLaughlin (based on the novel Flashfire by Donald E. Westlake) | Cinematographer J. Michael Muro | Starring Jason Statham, Jennifer Lopez | Length 118 minutes || Seen at Cineworld Wood Green, London, Sunday 17 March 2013

My Rating 2.5 stars likeable