Crossroads (2002)

It’s probably different to watch a screening of this in a central London cinema followed by a Q&A with the director than to see it on TV at home, but I find it difficult to say anything too harsh about what is evidently an earnest attempt to move Britney out of a certain (virginal) stereotype, while also making a film far more concerned with women’s friendship over time. Some of the plot points are a little leaden, and at times strain too hard for melodramatic resolutions (the script is written by TV stalwart Shonda Rhimes), and there’s some overburdened symbolism (waves crashing to indicate female sexuality comes to mind). However, the film cannot help but exceed all these quotidian referents, by which I mean (and I’m no theorist) that it’s not just a film with actors playing characters following a narrative, but the very definition of what I suppose we would call ‘camp’. For, by virtue of its production and cultural moment, it is above all a Britney vehicle, with all the baggage that entails: it’s an important cultural text of the 2000s (not unlike perhaps Desperately Seeking Susan in the 80s, and indeed Madonna is referenced in the very first scene), so your usual film criticism canards won’t work here. That said, while I do feel Britney’s acting is perfectly credible, Zoë Saldana is the break-out star, stealing all her scenes. It’s an underrated film.

Crossroads film posterCREDITS
Director Tamra Davis; Writer Shonda Rhimes; Cinematographer Eric Alan Edwards; Starring Britney Spears, Zoë Saldana, Taryn Manning, Anson Mount, Dan Akyroyd; Length 94 minutes.
Seen at Picturehouse Central, London, Sunday 15 January 2017.

Guardians of the Galaxy (2014)

You can’t deny that Marvel Studios have done a good job at shaping their film presence over the last decade, in a way that goes well beyond just giving Stan Lee his surely contractually-obliged cameo (and yes, there’s one here too). It just seems, though, as someone who is coming over time to appreciate a well-written screenplay, that there’s an overabundance of detail (of plot, characters, worlds, special effects, music and noise): a sensory overload at times. Maybe that’s to do with the source material, but for a two-hour film, there certainly are a lot of distractions. Partly that goes with the fantasy sci-fi setting, but the opening half hour features plenty of breathless cross-cutting between all-but-identically-named worlds, blathering on about nonsense with silly names, trying to sketch out various tribal allegiances that you need series TV (or a comic book) to really do justice to. At the core of the plot, though, is a mysterious orb, a classic MacGuffin whose purpose and power is fairly redundant. After all, the point is surely the journey of the five outlaw protagonists, led by Chris Pratt’s likeable goofy Andy Peter “Starlord”, as they pursue this orb — and at that, the film succeeds.

I mentioned the writing above, but I don’t mean to criticise it. The real joy of the film — as with most of Marvel’s films — is in the character interactions, and these are all done well enough that I was left wanting less of the action-adventure and more of the hanging out. A standout is Rocket the genetically-modified raccoon-like creature (voiced by Bradley Cooper), a ball of maniacal energy imbued with a carnivalesque sense of dangerous fun and a touchy ego. In fact, when stacked alongside his character, a kind-hearted mutant tree called Groot (voiced by Vin Diesel) and the heavily-tattooed and scarified warrior Drax (Dave Bautista), it’s the humanoids who have the tough acting job here. Pratt plays to his strengths so well honed in The Lego Movie, while Zoë Saldana’s Gamora gets a lot of glowering done under her green makeup, but they have to work hard not to be relegated to sideshow attractions.

The tone of the film is largely comedic, so when the bad guy Ronan (Lee Pace) is introduced, his vengeful pantomime (which is played and filmed totally straight, all threatening low-angle shots of his blue face lurking in shadows against the starry night sky) quickly descends into bathos. There’s so much of this kind of thing — Karen Gillan’s Nebula is another blue-skinned vengeful opponent, one amongst many — that it becomes a little wearing. Indeed, every so often the film requires an injection of fun, so has Starlord popping up at some inappropriate moment to boogie along to another 70s rock classic (you can certainly tell when the director was born, and in its persistent musical referencing of the era, it particularly calls to mind American Hustle).

It’s not perfect by any means: there are some very weird and apparently pointless moments of nastiness (such as Benicio del Toro’s ‘Collector’ and his subjugation of women) that aren’t even effaced by the presence of a female screenwriter — a rare enough occurrence on this kind of project. There’s also a post-credits sequence that briefly threatens the return of one of the more unloved characters in the Marvel back catalogue. Most aggravating is the reliance on what is now becoming the most inflexible of plot points for this Studio’s universe — the protracted destruction of a major city by bombardment from the air (not a real city, this time, but a sort of alien composite of many you’ll be familiar with). However, despite all this — which makes the running time seem longer than it mercifully is — Guardians of the Galaxy is on the whole a rather enjoyable comedic adventure romp.

Guardians of the Galaxy film posterCREDITS
Director James Gunn; Writers Gunn and Nicole Perlman (based on the comic book by Dan Abnett and Andy Lanning); Cinematographer Ben Davis; Starring Chris Pratt, Zoë Saldana, Dave Bautista, Karen Gillan, Bradley Cooper; Length 122 minutes.
Seen at Genesis, London, Monday 4 August 2014.

Star Trek Into Darkness (2013)


NEW RELEASE FILM REVIEW || Director J.J. Abrams | Writers Roberto Orci, Alex Kurtzman and Damon Lindelof (based on the television series by Gene Roddenberry) | Cinematographer Daniel Mindel | Starring Zachary Quinto, Chris Pine, Zoë Saldana, Karl Urban, Benedict Cumberbatch | Length 133 minutes | Seen at Cineworld Shaftesbury Avenue (2D), London, Wednesday 15 May 2013 || My Rating 1.5 stars disappointing


© Paramount Pictures

When growing up, I was always more of a fan of Star Trek than the other popular sci-fi franchises available. Specifically I watched a lot of The Next Generation television series, which was airing just at the right age for me, really. A lot of the vague ethical issues bandied about in this newest film (the twelfth overall, and the second since its ‘reboot’ in 2009) are familiar from that show in particular, though perhaps the 40-minute small-screen format was better able to handle such complexities. Added for the film is a lot more action and a lot more explosions, but a whole lot less sense.

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