An elegantly directed sci-fi adventure considerably undermined by yet another painfully flat Nolan screenplay, Interstellar charts the epic attempts of a small group of scientists and astronauts to locate a planet capable of supporting the human race as its Earthly sustenance quickly dries up. Mathew McConaughey heads the cast as the mission’s pilot desperate to get back to the children he left behind before they age beyond the point where he can help them while Ann Hathaway’s stiffish scientist and a couple of nicely conceived robots keep him company on board the spacecraft. Back on Earth, Michael Caine is the brains behind the mission, Jessica Chastain is the grown up version of McConaughey’s equally clever daughter, and Casey Affleck is his son who, like the majority of remaining humans, is attempting to farm what’s left of their desertification-headed planet.
Regaining his 2008 Dark Knight directorial form, writer-director Christopher Nolan composes a quite beautiful and thrilling action thriller that achieves a perfect balance between mood and energy with no small help from Hans Zimmer’s sublime score. Making the deftest use of Hoyte Van Hoytema’s stark and striking cinematography, he avoids overplaying the CGI card keeping the story front and centre. The story isn’t bad either and, predictable as its key moments are, it serves Nolan’s grand ambitions for a Kubrickian like space epic. More the pity then that the screenplay does not. Bloated with expositional dialogue and artificial sentiment, it bungles its way towards a gargantuan mishandling of a straightforward (“save the world before it’s too late”) premise with the kind of overblown piece of psycho-physical drivel that plagued Inception. Co-penned with his more adept writer-brother (Jonathan sat Inception out), this script at least shows more restraint than that 2010 monument to tedium but not nearly enough to engender its protagonists nor their dilemmas with the depth and cadences that the premise deserved. The well conceived drama emerging from the astronauts ageing more slowly than their loved ones back home is an exception to this and proves to be the movie’s one successful appeal to the audience’s emotions.
Ultimately, the problem with Interstellar is yet again one of Nolan reaching beyond his capabilities by attempting to match the work of masters who simply operated at a level higher than his own (that’s not an insult Chris, most filmmakers toil in the shadows of Kubrick and Tarkovsky!). The innumerable references to 2001: A Space Odyssey eventually feel less like a homage and more like an attempt to disguise that failure, proving far more imitative than emulative. That said, the couple of HAL-inspired robots (the Bill Irwin-voiced “TARS” in particular) work fantastically within the confines of this story, coming alive in a whirl of mechanised motion during the best of the action sequences and adding most of the humour outside of them. And, thankfully, it’s these such lighter more grounded touches that sees Interstellar passing muster as a sci-fi thriller even while failing as an attempt at something more profound.
Steven Soderbergh and friends take a working holiday in Las Vegas for this entertaining reworking of the Rat Pack’s heist comedy. George Clooney fills Sinatra’s shoes as Danny Ocean, the recently paroled con-man who assembles a motley crew to take down Andy Garcia’s ruthless casino owner while simultaneously nabbing his ex-wife (Julia Roberts) back from his clutches. Brad Pitt is the Dean Martin sidekick while Matt Damon, Don Cheadle, Casey Affleck, Scott Caan, Carl Reiner, and Elliot Gould among a couple of others complete the rest of the gang. A party-mode Soderbergh unleashes every bit of his directorial panache to craft the entire affair into an interminably slick feast for the eyes and ears – with a production budget to match (not content with taking over actual casinos, they even staged a title fight between Wladimir Klitshcko and Lennox Lewis). Playing the coolest versions of themselves, the cast cruise their way through the complicated and very well executed heist in a manner befitting the project’s ambitions with David Holmes’ repetitive but impossibly suave compositions providing the most complementary soundtrack imaginable. If it sounds, like a “can’t-miss” type of movie, allay your excitement somewhat because, though eminently fun, its lack of depth ensures that it’s a little cold. In the final analysis, Ocean’s Eleven is what you get when a bunch of talented movie guys spitball a movie concept around a poker table at 3 am. Lots of well conceived but ultimately stand alone moments in desperate need of some serious screenwriting to bind them together.
Rating: The Good – 65.3 Genre: Thriller Duration: 116 mins Director: Scott Cooper Stars: Christian Bale, Casey Affleck, Sam Shepard, Willem Dafoe
Scott Cooper’s down and dirty small town revenge drama is a sometimes interesting film made with all the right intentions but also a lack of directorial savvy. Christian Bale and Casey Affleck are brothers struggling to get their lives on track after a jail sentence and traumatising tour of Iraq respectively. Bale is the more sensible elder brother who’s back at the local steel mill which is threatening to close for good while Affleck has taken to underground fighting to pay his debts. When the latter gets mixed up with some mountain folk and their bare knuckle and meth dealing rackets, he disappears leaving his brother and uncle, played by the evergreen Sam Shepard, to track down the vicious maniac responsible.
Cooper takes a meditative approach to Out of the Furnace, employing an extended yet concealed introduction of the main characters. Lots is alluded to but, with sparse dialogue and an abundance of secondary characters, nothing is for sure. For a film that moves as slow as this, there’s actually a lot going on in the way of character dynamics and what Cooper is trying to say about the daily lives of his working class protagonists. And with a cast like this, one would expect some powerful drama. Unfortunately, it all runs a little flat save for a handful of scenes as Cooper’s incompatible ambitions see it fall between two stools. In the first place, there’s just too many characters in play to justify that meditative style. Taking time in the buildup can be a virtue (and a rare one these days) but it hurts this movie as its focus constantly bounces around from one of the many characters to another. Furthermore, long periods without dialogue with only brief interludes of character interaction make it difficult to engage with even the main characters despite the wealth of acting talent behind them. Setting the characters amongst some palpable conflict or anxiety can offset this but Cooper and co-writer Brad Ingelsby simply allude to their troubled backgrounds and keep them completely separate from their current travails. This itself can often be an elegant approach to storytelling but again the wrong choice here as it compounds the first problem. And finally, when Cooper finally gets around to colouring in between the lines, he paints a fairly bleak picture making it yet more difficult to stay invested. On paper, he may make all the right moves but the final cut unsurprisingly fails to add up to the sum of its parts. Matters aren’t helped by some overfamiliar motifs and the equally worn metaphors used to tease them out – does cinema really need another moment of personal revelation involving a seasoned hunter’s sudden inability to shoot a cute deer?
Regardless of Cooper’s slip ups in shooting his script, the sterling cast ensures a reasonably entertaining if frustrating watch. Bale is terrific as usual and despite having to do most of it in silence, he inhabits the soul of his character in the manner we’ve become accustomed to. Affleck does what he can though both he and Bale alike would’ve benefited from a few substantial scenes together. Ditto Sam Shepard. Willem Dafoe tantalises with an extended cameo as Affleck’s bookie but Forest Whitaker’s turn as the local chief of police is utterly wasted. Woody Harrelson has won most of the plaudits as the crazed yokel and Cooper does his level best to raise the intimidation factor including a needless and unimaginatively violent introduction at the opening of the film. To be fair, the star reborn gives it plenty of oomph but again, we have to ask: is it anything we haven’t seen before?
Ultimately, it’s this level of over-familiarity that may wear most on the viewer and it doesn’t stop there. Though apparently written in 2011, the story bears strong resemblances to 2010’s Winter’s Bone, 2011’s Warrior, and 2012’s The Place Beyond the Pines right down to Masanobu Takayanagi’s moody photography. However, though it may lose points for unoriginality, following the formula set forth in those sleeper hits reaps some rewards for Cooper’s film because, like in those movies, Out of the Furnace comes alive during its tenser moments. It’s also in these moments where the actors’ contributions pay off most effectively. The inevitable showdown at the end is itself quite well handled and Bale in particular is brilliant in a scene defined by a more everyday act of heroism than those that revenge films typically play out to. And even if it does sign off with another (lets say) “nod” to The Deer Hunter – the final shot is a decent attempt to satisfy the story both narratively and thematically.
Rating: The Good – 74.3 Genre: Crime, Thriller, Mystery Duration: 114 mins Director: Ben Affleck Stars: Casey Affleck, Morgan Freeman, Ed Harris
Ben Affleck turned many heads with this thoughtful and deftly crafted tale of two private investigators searching their local neighbourhood for traces of an abducted little girl. There are many things that make this film work so well but the writing, casting, and decision to make the working class Bostonian neighbourhoods so central to the story are paramount. Affleck co-wrote the script with Aaron Stockard and it’s fair to say that the result is one of the most insightful and authentic sounding screenplays. The cast of (mostly local) actors are just as integral to this authenticity as their accent, attitude, and mannerisms reel the audience in their world one scene at a time. Affleck captures the feel of the streets perfectly never missing a chance to contrast their geography and identity with the big city which is ever looming in the background of the interluding shots. The central characters are played with real authority too with Casey Affleck and Ed Harris being supremely engaging in very different ways. Ben’s younger brother is proving to be one hell of a unique character actor who never fails to make his unusual voice work for his characters. He leads the cast brilliantly here and being a local boy himself is never better than when he’s interacting with the locals. Ed Harris is equally interesting as the seasoned detective who Affleck and his partner Michelle Monaghan must work with. There are times when the freshness of the dialogue threatens to sound more important than the story but they always reign it in before it gets that far. The story of the missing girl never leaves the audience’s mind even though there are an array of other things going on and at all times it’s dealt with maturity and intelligence. The clever writing develops the plot into a well above average mystery thriller and there are some lightning quick moments of action and terror that are dealt with in the guttiest of ways. Kudos to all involved for sticking to their guns when it came to the decisions Hollywood normally balks at. Gone Baby Gone could stand to be 10-15 minutes shorter but in the main this is a terrific and unique thriller which reflects well on all involved.