Movie Review: The Lone Ranger

I’ll start by saying this is a strange one.  It may already be well on its way to becoming a worldwide flop in that it’s set to lose Disney around $150,000,000, reminiscent of what happened with Disney’s John Carter of Mars last year.  However, it’s by no means a bad film. 

After seeing the trailer a couple of times beforehand, I’ll admit that I wasn’t keen in the slightest.  That trailer did not do the film any justice.  Don’t judge it by that and embrace the film for the entertaining surprise that it turns out to be. 

It may be a Disney western, but it’s far from The Adventures of Bullwhip Griffin or The Apple Dumpling Gang.  Parts of it certainly belong in a Jerry Bruckheimer production, but not in a Disney one – until now that it.

It is essentially an origin story about how an upstanding lawyer becomes the legendary masked ambassador for justice.  The story starts in 1934, where Johnny Depp’s Tonto recounts the tale of The Lone Ranger to a young boy.  The introduction of the man who will become the titular hero, John Reid, played by Arnie Hammer, sets the tone and suggests he’s a buffoon underneath his well-presented appearance.  It’s clear that comedy is on the agenda.  It turns out that he’s just a naively upstanding stickler for the rules and is about to discover that his by-the-book nature will only go so far.  The moments of slapstick scattered throughout are successful and induce a chuckle for the majority.

In the first half, the tone of the film changes whenever Depp’s Tonto appears.  The role does not seem much of a stretch for him, but you can’t fault him for that.  It’s a typically Depp performance which mostly leans towards the deadpan delivery of Jack Sparrow from Pirates of the Caribbean  with the intensity of Raoul Duke from Fear and Loathing in Las Vegas. 

It’s a family film, but isn’t suitable for younger children.  It’s frequently violent with flashes of terror, including a scalping when a home comes under attack from a gang masquerading as Native Americans, headed by William Fichtner’s Butch Cavendish.  Then there are the unexplained psychotic rabbits, which appear in the background of a couple of scenes.  

It’s a shame about the bloated middle as the first half an hour flies by and the final twenty minutes are tremendous, featuring an exhilarating action sequence accompanied by the famous William Tell overture that is synonymous with the masked hero. 

The Lone Ranger is released in cinemas on 9th August in the UK, is rated 12A at 2 hrs 29 mins and I’d give it a 3 out of 5.  It is already on general release in many other countries worldwide.

The Future of Cinema

What does the future hold?  Look at the differences between the ways films were made just thirty years ago compared to how they are now.  People were probably saying cinema was in trouble back then as well, but the technological advances of recent years have helped cinema endure and will continue to do so further ahead than you can probably imagine.

Performance and story are still the key to success, of course, but the technological changes are enhancing the experience and giving moviegoers reason to part with their cash.  Furthermore, the quantity is set to improve within the foreseeable future.  For decades, movies have been filmed at twenty-four frames-per-second and then projected onto the big screen with a shutter system showing the same frame a couple of times, boosting the overall frame rate and reducing signs of flicker being visible to the audience.  When a 3D movie is filmed and put on display at twenty-four frames-per-second, strobing and judder can become more apparent.  Peter Jackson’s Hobbit trilogy has been filmed at forty-eight frames-per-second as well as in 3D.  James Cameron has said that the next two sequels to his record-breaking smash, Avatar, will be shot at sixty frames-per-second.  It could be argued that Cameron embraces these advances more than any other filmmaker.  When he made Terminator, in 1984, they used stop-motion animation, miniature models and glass paintings for the special effects.  These days, all the effects are digital and he doesn’t shoot on celluloid anymore.  When explaining high frame rate movies, Cameron has said, “If watching a 3D movie is like looking through a window, then (with this) we’ve taken the glass out of the window and we’re staring at reality.”

Of course, this will mainly apply to the mega-budget mainstream offerings.  Hollywood is run by accountants and the target market has to be catered for.  But, the recent film festival at Cannes emphasises that the artistry in filmmaking is just as strong as ever.  The independent film system continues to provide a stream of talent and promises to go from strength to strength as the medium becomes more accessible.  Emerging talent is usually recognised and a fraction are sometimes lucky enough to become embraced by the studio system.  Christopher Nolan and Duncan Jones cut their teeth on the independent circuit before moving to the studio system.  More recently, following the success of his low-budget indie hit Monsters, Gareth Edwards has been given the task of helming the big-budget behemoth that is Godzilla.

Another avenue for independent filmmakers is the internet.  If you look hard enough, you’ll find impressive shorts that you would expect to have been made on a much larger budget than they actually have been.  Again, this stems from the technological advances in the tools available. 

As movies become more accessible, viewers crave more quality content as the selection becomes saturated.  Movies now have to stand out to succeed and strike while the iron is hot.  Iron Man 3 was available to pre-order on Blu-Ray and DVD before it was even released in the cinema.  These days, when something is released on DVD, it is simultaneously available via an On-Demand service as well, with the gap since it cinema release now averaging three months.  Taking this further, British filmmaker Ben Wheatley recently announced that his new film, A Field in England, will be simultaneously released in the cinema, on DVD, available On-Demand and screened on Film Four on the same day.  It’ll be interesting to see what happens.  Will people still pay to see it at the cinema or buy the DVD when they can watch it free on Film Four the same day? 

MOVIE REVIEW: John Dies At the End

In the first five minutes, our hero, David Wong, tells us that he once saw a man's kidney grow ten nipples, tear itself out of a ragged hole on his back and go slapping across the kitchen floor.  But that's another story.  The fact that such things can be omitted from this imaginatively trippy voyage is testament to how phantasmagoric the following hour-and-a-half is going to be.  When we join him, David seems to have already grown accustomed to the other-worldly events occurring around him.  He has a story to tell and the full attention of reporter Arnie Blondestone, played by Paul Giamatti.  David presents a cynical front as he restrains his reactions to the mind-blowing developments at the start of his account.  His best friend is John, and this could essentially be described as a buddy-movie, aside from the realization that defining it is as so would not do it justice.

David comes to John's aid one night when he is suffering from the hallucinogenic effects of a drug called Soy Sauce.  The title of the movie proves not to be far from a spoiler when David starts to receive phone-calls from  John's beyond-the-grave future-self, whilst in John's presence.  Suffice to say, if you're looking for a linear story, forget about it.  What we are given is lingering yet snappy dialogue with jittery editing to accompany the frenetic situation that David falls into.  Soy Sauce, the drug, heightens David and John's abilities to the extent that they can anticipate the future, read minds, and even travel to alternate universes.  

Much of this movie is an experience requiring you to just strap in and go with the ride.  It is frequently unclear what is real and what is David's hallucination.  Glynn Turman, who you may remember among other things as Mayor Royce in The Wire,  sums up it up as stuff being real and not-real at the same time.  He believes Hell is the grease-trap of the Universe and we are not capable of perceiving what could be down there.  This movie tries to give us an idea.

Cue telepathic dogs driving cars before it is left to David to save the world from impending doom. Users of Soy Sauce  are being sent through time and other dimensions to return as something alien.  This all plays out straight-faced with a commitment to its surreally comic narrative, confident and self-assured to become a cult favorite.  A handful of reliable veterans support emerging young talent

By now, you should have decided whether John Dies At The End is going to be to your taste or not.  If you enjoyed the director Don Coscarelli's previous offerings, such as Bubba Ho-Tep or the Phantasm series, you should certainly give this a shot.  If you can already sense it's not for you, I'm glad that I've saved you the aggravation.

Tonally, its humor is comparable to Sam Raimi's Army of Darkness and features creatures the likes of which you would expect to find in a Cronenberg film.  But, to give it its due, this is an original genre-bending comedy that you should not expect to make sense.  Enjoy it for what it is and soak in the insanity as a handful of reliable veterans support the emerging young talent leading the way.  It boasts a fresh vibe that you would associate with an up-and-coming young filmmaker, not someone who's been making movies for over thirty years.

MOVIE REVIEW: Rust and Bone

Rust and Bone begins with a father and his son.  Alain, played by Matthias Schoenaerts, is travelling across France.  Times are clearly tough, and desperate measures are called for when it is also clear that Alain is a devoted father who will do whatever it takes to provide for his son.  Whatever they are leaving behind must have been an inferior existence to strive for the situation they have found themselves in at the start of the film.  Their destination is Alain's sister's, where they are being welcomed to stay with her and her husband.  They are only just getting-by themselves and their charity is not going to extend further than putting a roof over the heads of Alain and their nephew.  However, Alain's prospects are thin on the ground and far from promising.  All he seems to have going for him is that he was a boxer when he lived in Belgium.  Nevertheless, he is given a job as a doorman at a nightclub, where he meets our other lead character, Stephanie.  Played by Marion Cotillard, Stephanie is alone at the nightclub when Alain comes to her aid during a fight she is having with one of the establishment's male revelers.  He drives her home and their connection is the seed for the blossoming bond that follows.

We then follow Stephanie.  Just when we're amazed at how she makes her living, captivated even, tragedy strikes.

Cotillard was awarded with her Oscar for Best Actress in a Leading Role in 2008 and was only the second woman to do so for a non-English-speaking part behind Sophia Loren.  In Rust and Bone, Cotillard gives another acclaim-deserving performance here; exactly what can be confidently expected from her now.  She is one of the finest actresses in the business and is going to have a successful acting career as long as she desires.

Returning to the story, Stephanie makes contact with Alain and it proves to be the best decision she could have conceivably made at the time.  It is a life-changing time for them both.  They become an amazingly positive influence on each other and their relationship becomes far from a straightforward one.  However, Alain still has his own responsibilities to attend to and he becomes involved in illegal, high-stakes street-fighting,  He is fighting, not for the glory, but for the money.  He's good at it and it's his best chance to provide for his son.

Rust and Bone is a powerfully engaging and emotive story about recovery.  It tells the fateful story of a bond between an emotionally handicapped man and a physically handicapped woman, whose support for each other develops and progresses throughout the film's fleeting 120 minutes running-time.  At the end of those two hours, you'll feel ready to go through the experience again despite the abundance of heart-wrenching scenes you've just witnessed.  It's a magnificently engrossing tour-de-force demanding your attention.

(TRAILER)

OSCARS 2013

So, the nominations have been revealed.  This year the field is wider than it's been for a while.  The media is leading with the headline that Lincoln is the favourite to sweep the board because of the amount of nominations it has received, but remember how many nominations Gangs of New York had compared to what it took away.  Still, I'd probably agree that Lincoln is going to win big, even if it wasn't my favourite from what I've seen so far.  Daniel Day-Lewis is a sure thing for Best Actor with nobody else in with a chance.  I would love for Hugh Jackman to win, but you know - it's Day-Lewis and he's going to make history by being the first to win the award three times.  Most of the time, you don't even need to see the films to predict which will win.  A lot of the time it's down to which has the best campaign or the best press.  Do the Academy members who vote have time to watch all of the nominees?  When you see actors interviewed and asked what their film of the year has been, most of them admit they've been too busy working to watch any.

Here's my betting slip for the awards:

Date	Bet Type	Details	Result
12/01/2013	Single To Win	Jennifer Lawrence (Silver Linings Playbook) @ 1.44  Best Actress Best Actress	Pending
12/01/2013	Single To Win	Les Miserables @ 11.00  Best Picture Best Picture	Pending
12/01/2013	Single To Win	Lincoln @ 1.80  Best Adapted Screenplay Best Adapted Screenplay	Pending
12/01/2013	Single To Win	Zero Dark Thirty @ 1.25  Best Original Screenplay Best Original Screenplay	Pending
12/01/2013	Single To Win	Frankenweenie @ 3.00  Best Animated Feature Best Animated Feature	Pending
12/01/2013	Single To Win	Daniel Day Lewis (Lincoln) @ 1.10  Best Actor Best Actor	Pending
12/01/2013	Single To Win	Tommy Lee Jones (Lincoln) @ 2.20  Best Supporting Actor Best Supporting Actor	Pending
12/01/2013	Single To Win	Anne Hathaway (Les Miserables) @ 1.10  Best Supporting Actress Best Supporting Actress	Pending
12/01/2013	Single To Win	Jessica Chastain (Zero Dark Thirty) @ 3.25  Best Actress Best Actress	Pending
12/01/2013	Single To Win	Lincoln @ 1.25  Best Picture Best Picture	Pending
12/01/2013	Single To Win	Steven Spielberg (Lincoln) @ 1.25  Best Director Best Director	Pending

There are just two categories where I've placed two bets - one for which I think will win and another for which I want to win.  Les Miserables would bring in the biggest return, but that's because it's very unlikely.  Tom Hooper doesn't have a Director nod, so that says a lot.  I'm split between Jennifer Lawrence and Jessica Chastain for Best Actress.  Chastain has worked very hard in the last couple of years and has an impressive body of work already.  Anne Hathaway winning for Supporting Actress will be a very satisfying moment.  I haven't seen all of the nominated films yet - only four of them.  I will have seen all of them by the time the awards arrive, except for Amour as that has come and gone now.  I was hoping that Skyfall would at least get a nomination, but instead I'll settle for the title track winning for Best Original Song.  

As for the omissions. Ben Affleck will have his day (or two) in the future and The Hobbit still has two films left in the trilogy (Lord of The Rings didn't win big until Return of The King).  This year has been the first time that a Christopher Nolan film hasn't received any nominations since Insomnia - but, of course,  he's not done.