"The Grandmaster" is the story of Ip Man (Tony Leung), a legendary Kung Fu master who would go on the train Bruce Lee as a youth. The Bruce Lee story is not the focus of this picture. Instead we are shown the early days of Ip Man's life and how he came to be.
Visually, this film is truly stunning. The use of slow-motion and beautiful art direction and cinematography contribute to the overall visual splendour of this action-packed martial arts spectacle. The way that the camera captures every intricate detail of the various battle sequences makes the viewer really appreciate the immaculate detail and hard-work that went into the choreography of the film. The fights are almost like a grand ballet in which the actors seem to dance together in a radiant display of martial art virtuosity.
If you want to see a film in the vein of "Crouching Tiger, Hidden Dragon", "Hero" or "House of Flying Daggers" you will definitely find enjoyment in "The Grandmaster". It contains equal doses of action, romance, and great performances. The period detail from early 20th century China are also a highlight. This is truly an extremely entertaining film.
Thoughts and insights on film, television, and other aspects of culture by Matthew J. White.
Sunday, May 25, 2014
Godzilla (2014, dir. Gareth Edwards)
Gareth Edwards' new take on the Godzilla film-legend will appeal to fans of disaster epics and monster-horror films. Its power lies, mostly, in the power of suggestion because we don't get too many really good glimpses of the title beast until about two thirds of the way through it. Most of the shock, awe and horror comes in the reactions we get from average, everyday citizens of the cities where Godzilla and MUTOs wreak their havoc. This is the key to what makes the movie effective on a visceral, emotional level.
When we do get to see the great beast, it is truly a thrill. The CGI makes the monster a sight to behold and we immediately recognize the advances that have been made since the days of a Japanese guy in a rubber suit. The roar that Godzilla emits is breathtaking and powerful. The scenes where we actually get to see the destruction of the monsters are the highlights of the film.
The problems with the film are the human protagonists themselves who are never really developed into anything full-blooded or multidimensional. Brain Cranston spends a lot of time looking forlorn and worried and his character's son isn't very charismatic to be the lead character in the film. Furthermore, the whole backstory of nuclear radiation, the radiation-eating monsters (MUTOs), and the multiple locales makes the story confusing and less clear-cut than it should be.
Overall, we are left with a film that has some great thrills and special effects but falls short on the character development angle. It is probably worth seeing in theatres for its epic FX and the sheer magnitude of the spectacle. It just won't be the same on the small screen.
When we do get to see the great beast, it is truly a thrill. The CGI makes the monster a sight to behold and we immediately recognize the advances that have been made since the days of a Japanese guy in a rubber suit. The roar that Godzilla emits is breathtaking and powerful. The scenes where we actually get to see the destruction of the monsters are the highlights of the film.
The problems with the film are the human protagonists themselves who are never really developed into anything full-blooded or multidimensional. Brain Cranston spends a lot of time looking forlorn and worried and his character's son isn't very charismatic to be the lead character in the film. Furthermore, the whole backstory of nuclear radiation, the radiation-eating monsters (MUTOs), and the multiple locales makes the story confusing and less clear-cut than it should be.
Overall, we are left with a film that has some great thrills and special effects but falls short on the character development angle. It is probably worth seeing in theatres for its epic FX and the sheer magnitude of the spectacle. It just won't be the same on the small screen.
Monday, May 5, 2014
August: Osage County (2013, dir. John Wells)
What we have here is an engaging character study, full of surprises and enlightening moments. It is from a screenplay by Tracy Letts based on her own play. It is a film in which all differences are not resolved, some people are not left happy, and where endings aren't always clear-cut and solidly defined. This is not being critical though. It is a film which reflects truth and reality very well, in fact. This is the real world where things can be complicated.
Meryl Streep stars as an aging woman with cancer who's husband (Sam Shepard) disappears one night. He turns up dead a few days later and this brings Streep's family to the household in Osage County for the funeral. The family consists of three daughters, a sister and their respective families. The film examines their relationships, interactions, and differences over the course of a week when this somewhat dysfunctional family comes together.
The daughters of Streep's character are played by Julia Roberts, Juliette Lewis, and Julianne Nicholson. Their husbands and lovers are played by Ewan MacGregor, Dermot Mulroney, and Benedict Cumberbatch. All the performances in this movie are top-notch and heighten the overall realistic nature of the story. Both Roberts and Streep were nominated for acting Oscars and the film was nominated for Best Picture at the 2014 Oscars. All nominations were deserving.
This film speaks about family dysfunction and how dysfunctional relationships are passed on from generation to generation. Some members of the family are able to deal with it better than others depending on their wills and personalities. There are buried family secrets that are brought to light over the course of the film that are refreshing in their candor and narrative originality.
Mixed with the high drama are moments of humor that dispel the serious nature of the screenplay. The characters are realistic and natural. The hot days of summer are palpable. This is one of the best films of 2013.
Meryl Streep stars as an aging woman with cancer who's husband (Sam Shepard) disappears one night. He turns up dead a few days later and this brings Streep's family to the household in Osage County for the funeral. The family consists of three daughters, a sister and their respective families. The film examines their relationships, interactions, and differences over the course of a week when this somewhat dysfunctional family comes together.
The daughters of Streep's character are played by Julia Roberts, Juliette Lewis, and Julianne Nicholson. Their husbands and lovers are played by Ewan MacGregor, Dermot Mulroney, and Benedict Cumberbatch. All the performances in this movie are top-notch and heighten the overall realistic nature of the story. Both Roberts and Streep were nominated for acting Oscars and the film was nominated for Best Picture at the 2014 Oscars. All nominations were deserving.
This film speaks about family dysfunction and how dysfunctional relationships are passed on from generation to generation. Some members of the family are able to deal with it better than others depending on their wills and personalities. There are buried family secrets that are brought to light over the course of the film that are refreshing in their candor and narrative originality.
Mixed with the high drama are moments of humor that dispel the serious nature of the screenplay. The characters are realistic and natural. The hot days of summer are palpable. This is one of the best films of 2013.
Saving Mr. Banks (2013, dir. John Lee Hancock)
"Mary Poppins" the whimsical 1964 live-action Disney musical almost wasn't made on several occasions. P.L. Travers the author behind the well-known fictional nanny was hesitant to bring her creation to the big screen especially in musical form. This is the picture that is painted by John Lee Hancock's "Saving Mr. Banks" in which the making of "Mary Poppins" is brought to life, interspersed with flashbacks to moments of Travers' childhood that in many ways shaped her future creation and her own life outlook and personality.
Travers (Emma Thompson) is not exactly the most warm-hearted, friendly individual. She is easily offended, short-tempered, and impatient with the ineptitude of her surroundings and others. She is a hard one to convince when ideas pop up about the film version of her stories. For one, she doesn't like the idea of it being a musical. But, it is Walt Disney (Tom Hanks)'s job to win her over. He does this it seems, by inviting her to ride on a merry-go-round at Disneyland. After that event, she seems to be more positive and friendly, as hard as that may be to believe.
So, there are some moments which betray the believability of the story. But, overall this is a compelling movie with some commanding performances. It also gives an in-depth glimpse into the coming-to-fruition of a musical that every child is delighted by.
The scenes from Travers' childhood are bittersweet and sometimes melancholy. Travers' father (Colin Farrell) slowly descends into alcoholism and disease. It is tragic to witness, through the young P.L.'s eyes the downfall of the most important and loved person in her life. We get snapshots of little instances of what will influence the ideas in Mary Poppins along the way.
This is a brilliant character-study and offers a portrait of not-all-that-likable character. As we see the flashbacks and watch Travers in her adulthood, we gradually but surely come to like and respect her character despite her faults. She grows and develops all throughout the film and is changed, as the viewer is, by the whole experience.
Travers (Emma Thompson) is not exactly the most warm-hearted, friendly individual. She is easily offended, short-tempered, and impatient with the ineptitude of her surroundings and others. She is a hard one to convince when ideas pop up about the film version of her stories. For one, she doesn't like the idea of it being a musical. But, it is Walt Disney (Tom Hanks)'s job to win her over. He does this it seems, by inviting her to ride on a merry-go-round at Disneyland. After that event, she seems to be more positive and friendly, as hard as that may be to believe.
So, there are some moments which betray the believability of the story. But, overall this is a compelling movie with some commanding performances. It also gives an in-depth glimpse into the coming-to-fruition of a musical that every child is delighted by.
The scenes from Travers' childhood are bittersweet and sometimes melancholy. Travers' father (Colin Farrell) slowly descends into alcoholism and disease. It is tragic to witness, through the young P.L.'s eyes the downfall of the most important and loved person in her life. We get snapshots of little instances of what will influence the ideas in Mary Poppins along the way.
This is a brilliant character-study and offers a portrait of not-all-that-likable character. As we see the flashbacks and watch Travers in her adulthood, we gradually but surely come to like and respect her character despite her faults. She grows and develops all throughout the film and is changed, as the viewer is, by the whole experience.
City Lights (1931, dir. Charles Chaplin)
With the coming of sound to cinema, Charlie Chaplin's 1931 masterpiece, "City Lights" was one last chance for the world-famous actor/director to bring forth a cinematic experience that would exploit the dying art of silent comedy. What we have here is a genuine, classic work of art: a buoyant, effervescent, comedic tour-de-force that would be the culmination of all of Chaplin's previous output plus a little extra magic to catapult this film into the realms of cinematic splendor. It contains unforgettable scenes and brilliant performances from Chaplin as the iconic Little Tramp and Virginia Cherrill as The Blind Girl.
I watched "City Lights" on the Criterion Blu-ray edition and the restoration and clarity of the print promotes its timeless quality even more. The extras, including the engaging commentary by a film historian, behind-the-scenes footage and interviews with film critics somewhat dispel the mysterious aura surrounding the film's painstaking production.
The most talked about scene of the film and perhaps one of the most famous in cinematic history is the end when the now-seeing former blind girl realizes that the man who had helped her so much and given her the money for the sight-restoring operation is, in fact, the tramp. We get the famous close-up of Charlie's face, filled with euphoric happiness as he realizes that he may actually be accepted for what he is and true love might prevail.
My favorite scene is the boxing match where intricate footwork and brilliant choreography result in one of the funniest moments in the film when Charlie, his opponent and referee seemingly waltz around the boxing ring in perfect coordination.
"City Lights" was released in the early days of the depression and offered down-on-their-luck movie-goers a chance to escape from their humdrum existences. Not only was the film an escape but it portrayed a scathing critique and commentary on the contemporary times: Chaplin's tramp represented and encapsulated the viewer's outlook in many ways. His poverty was the poverty of civilization. The fact that he could remain positive, ever-hopeful and (like his love interest in the film) blind to his own dour circumstances served as a model for average citizens to emulate. The Tramp was a hero and in comparison to today's films where super-hero's are nothing more than stereotype personalities, Chaplin's character, even today, remains a breath of fresh air.
I watched "City Lights" on the Criterion Blu-ray edition and the restoration and clarity of the print promotes its timeless quality even more. The extras, including the engaging commentary by a film historian, behind-the-scenes footage and interviews with film critics somewhat dispel the mysterious aura surrounding the film's painstaking production.
The most talked about scene of the film and perhaps one of the most famous in cinematic history is the end when the now-seeing former blind girl realizes that the man who had helped her so much and given her the money for the sight-restoring operation is, in fact, the tramp. We get the famous close-up of Charlie's face, filled with euphoric happiness as he realizes that he may actually be accepted for what he is and true love might prevail.
My favorite scene is the boxing match where intricate footwork and brilliant choreography result in one of the funniest moments in the film when Charlie, his opponent and referee seemingly waltz around the boxing ring in perfect coordination.
"City Lights" was released in the early days of the depression and offered down-on-their-luck movie-goers a chance to escape from their humdrum existences. Not only was the film an escape but it portrayed a scathing critique and commentary on the contemporary times: Chaplin's tramp represented and encapsulated the viewer's outlook in many ways. His poverty was the poverty of civilization. The fact that he could remain positive, ever-hopeful and (like his love interest in the film) blind to his own dour circumstances served as a model for average citizens to emulate. The Tramp was a hero and in comparison to today's films where super-hero's are nothing more than stereotype personalities, Chaplin's character, even today, remains a breath of fresh air.
The Amazing Spider-Man 2 (2014, dir. Marc Webb)
Few would argue that the superhero movie is one of the most popular and commercially-viable genres in recent years. It hadn't been all that long since the Tobey Maguire-starring Spiderman series when a new version appeared a couple of years ago with "The Amazing" now preceding the title and new cast of youthful talent. It was a success, hence the demand for a sequel and here we find "The Amazing Spider-Man 2" featuring Andrew Garfield and Emma Stone in an action-packed successor to the original in this series.
The film also stars Jamie Foxx, who conjures up a fearsome foe in Electro. He became this superhuman after the mortal being he originally was ("Max Dillon") falls into a large vat of electric eels in the genetic engineering firm (Oscorp) where he works. Dane DeHaan is Harry Osborn the heir to the Oscorp corporation, who turns into The Green Goblin thanks to another misguided genetics mishap. One of these enemies would have been enough for one movie, but this film packs two or three dangerous villains into the story which thrusts the film into overlong territory once it surpasses the two hour mark.
I saw this film in UltraAVX 3D but wasn't too impressed with the special effects. The 3D doesn't stand out all that much and doesn't break new ground. I wasn't overtly blown away by the 3D and wouldn't have missed anything had I seen this film in the regular mode.
Garfield and Stone have chemistry and are pleasant in their demanding roles. Unfortunately, the characters aren't too psychologically complex as we have become accustomed to with characters from "The Dark Knight" series of films.
Furthermore, there is too much baffling, scientific, back-story jargon which thwarts any attempt by regular movie-goers to fully immerse themselves in the story: the whole backstory and flashback sequences to Peter's father, Richard Parker and his death is confusing and not clearly or impeccably written.
The choices made at the end of the film by the screenwriters are disappointing and will leave many viewers cold. It is not that we have to expect all story threads to be tied-together and happy endings to result, but it has almost become a cliché for such super-hero stories to refuse to leave the viewer totally satisfied without the inevitability of another sequel or some valuable character to meet their demise.
Although I liked a lot of the action sequences and the story was wholesome and enough to keep me interested throughout, it doesn't hold up in comparison the best of the genre and is altogether forgettable. It is time to focus on more psychologically complex heroes and movies that aren't bogged-down by their own self-importance and confused technological jargon.
The film also stars Jamie Foxx, who conjures up a fearsome foe in Electro. He became this superhuman after the mortal being he originally was ("Max Dillon") falls into a large vat of electric eels in the genetic engineering firm (Oscorp) where he works. Dane DeHaan is Harry Osborn the heir to the Oscorp corporation, who turns into The Green Goblin thanks to another misguided genetics mishap. One of these enemies would have been enough for one movie, but this film packs two or three dangerous villains into the story which thrusts the film into overlong territory once it surpasses the two hour mark.
I saw this film in UltraAVX 3D but wasn't too impressed with the special effects. The 3D doesn't stand out all that much and doesn't break new ground. I wasn't overtly blown away by the 3D and wouldn't have missed anything had I seen this film in the regular mode.
Garfield and Stone have chemistry and are pleasant in their demanding roles. Unfortunately, the characters aren't too psychologically complex as we have become accustomed to with characters from "The Dark Knight" series of films.
Furthermore, there is too much baffling, scientific, back-story jargon which thwarts any attempt by regular movie-goers to fully immerse themselves in the story: the whole backstory and flashback sequences to Peter's father, Richard Parker and his death is confusing and not clearly or impeccably written.
The choices made at the end of the film by the screenwriters are disappointing and will leave many viewers cold. It is not that we have to expect all story threads to be tied-together and happy endings to result, but it has almost become a cliché for such super-hero stories to refuse to leave the viewer totally satisfied without the inevitability of another sequel or some valuable character to meet their demise.
Although I liked a lot of the action sequences and the story was wholesome and enough to keep me interested throughout, it doesn't hold up in comparison the best of the genre and is altogether forgettable. It is time to focus on more psychologically complex heroes and movies that aren't bogged-down by their own self-importance and confused technological jargon.
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