Paul Greengrass is a good filmmaker and has a stylish command of the visual vocabulary of film — he’s done great work on the two previous instalments of this spy series, not least. It’s just that other pesky vocabulary — which is to say, the words the characters speak, their motivations, that sort of thing — which seems to elude him here somewhat. Coming after a previous non-Damon outing with Jeremy Renner, I never found this latest instalment of the Bourne series boring, but it’s very silly, and the very quality that is supposed to differentiate Bourne, of being recognisably grounded in our world, seems to slip away. Granted we get a few mentions of Edward Snowden, but otherwise characters do the same stupid things they do in countless other spy thrillers, like hacking into networks where covert operations are held in a file folder on the CIA mainframe called “BLACK OPS”, calling out to “ENHANCE!” grainy photos, saying “Let’s use SQL to hack into their system!” Computers do all kinds of whizzy things that just don’t ring true at any level, and character motivations seem flimsy at best, though at least some of the other details of setting have a certain feeling of authenticity, not least the opening sequence at an Athens anti-austerity protest. Moving from this, we get the usual Bourne stuff of whizzing about from location to world location, making deals, stabbing and backstabbing, running and shooting, and all that stuff. It’s all done fine on screen — as I said initially, with plenty of visual flair — it’s just a pity it had to be so stupid.
NEW RELEASE FILM REVIEW Director Paul Greengrass | Writers Paul Greengrass and Christopher Rouse | Cinematographer Barry Ackroyd | Starring Matt Damon, Alicia Vikander, Tommy Lee Jones, Vincent Cassel, Julia Stiles | Length 123 minutes || Seen at Cineworld Wood Green, London, Wednesday 27 July 2016
A few years ago I went to see The Counselor and I hated it so much I called it my least favourite film of the year. Which means I haven’t exactly been seeking out the work of Ridley Scott since then. But some friends said hey this new film of his was pretty good and so finding myself with an empty day and having exhausted everything else I needed to see, I steeled myself for 141 minutes of more of his noxious worldview (whyyyyy?) and… well… it was actually pretty enjoyable stuff. But I suspect that’s partly Scott’s directorial vision being paired with a more sympathetic screenwriter in Drew Goddard — most of the battle in making a good film, after all, is starting with a good script. It’s a science-fiction film, but fairly easy on the distancing techy BS that distracts in other efforts. Sure there are actors who pop up just to be savant geniuses (like Donald Glover), but for the most part this is just about determined people trying to do their best with (apparently) very little regard to budget — I guess we should assume the future has solved all its financial problems. Therefore, amongst these driven players — including Chiwetel Ejiofor as Vincent, the mission director, Jessica Chastain as Melissa, commanding the actual expedition, and Jeff Daniels as the NASA director Teddy — astronaut and botanist Mark Watney (Matt Damon) is just the most notable, for he’s the one stuck on Mars. Most of the extended running time just lingers on him solving problems, and Scott’s work is to build tension through emphasising his very isolation, and the impossibility of those back on Earth helping him in any meaningful way. In that sense, it has a bit of Apollo 13 to it, and it’s immensely likeable in the way that there are no villains in the piece, and everyone gets their time. Sure, our Everyman character is still a white guy (and Damon’s run into a bit of criticism for his views on that this year), but this is a well-crafted film which fits in easily alongside Gravity as a solid bit of space-based entertainment. I suspect we’ll be getting more of that as 2015 draws to a close.
NEW RELEASE FILM REVIEW Director Ridley Scott | Writer Drew Goddard (based on the novel by Andy Weir) | Cinematographer Dariusz Wolski | Starring Matt Damon, Jessica Chastain, Chiwetel Ejiofor, Jeff Daniels, Kate Mara | Length 141 minutes || Seen at Cineworld Wood Green, London, Saturday 31 October 2015
It must be easy to take against this film, after all it has pretty much no likeable characters. The title character, Tom Ripley (Matt Damon), is a sociopathic grifter in the 1950s, taking advantage of opportunities to inveigle himself into the company of the wealthy, upper-class New York set, sponsored to fly out to Italy by the father of dissolute Ivy Leaguer Dickie (Jude Law), who is living la dolce vita with his girlfriend Marge (Gwyneth Paltrow), playing jazz and mooching from seaside resort to bustling city. Dickie is an entitled asshole, friendly to a point, with friends (like Freddie, played by Philip Seymour Hoffman) who are even worse. And along the way, Ripley manages to win the attentions of Cate Blanchett’s heiress Meredith by pretending to be Dickie, which leads to some almost-screwball situations (the comedy premise somewhat attenated by the resulting murders). Only Marge manages to be in any way pleasant, but she’s as much a product of her upbringing as Dickie, though she comes to see through Ripley’s dissimulations. Still, it may run long, but it’s all acted extremely well, with Jude Law particularly rising to Dickie’s arrogant golden boy, and John Seale’s cinematography looks great, though you can’t really fail with locations like Venice. Matt Damon plays Ripley very inscrutably, and the filmmakers toy with a gay subtext though they thankfully stop short of having it explain Ripley’s sociopathy. It’s a strong psychological thriller, and among Minghella’s finer films.
FILM REVIEW Director/Writer Anthony Minghella (based on the novel by Patricia Highsmith) | Cinematographer John Seale | Starring Matt Damon, Gwyneth Paltrow, Jude Law, Cate Blanchett, Philip Seymour Hoffman | Length 138 minutes || Seen at home (DVD), London, Saturday 29 August 2015
NEW RELEASE FILM REVIEW || Director Steven Soderbergh | Writer Richard LaGravenese (based on the book Behind the Candelabra: My Life with Liberace by Scott Thorson and Alex Thorleifson) | Cinematographer Steven Soderbergh (as “Peter Andrews”) | Starring Matt Damon, Michael Douglas, Scott Bakula, Rob Lowe, Debbie Reynolds | Length 118 minutes | Seen at Cineworld Fulham Road, London, Tuesday 11 June 2013 || My Rating very good
If Side Effects earlier this year was billed as Soderbergh’s last film, it seems as if Behind the Candelabra may actually turn out to be. Perhaps it didn’t ‘count’, what with being made for the cable subscription channel HBO, but it holds up well as a cinematic work. By the nature of the central characters’ lives, it’s a bit of a chamber piece, being restricted largely to interior sets — Liberace’s stage at Las Vegas, and his ornately kitsch home — but like all Soderbergh’s films, it boasts an excellent ensemble of actors.