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News on the March!

Eastern Promises Sequel

For those that have not seen Eastern Promises; see it!! Now! For a sequel is on the way. I may be over-reaching a little based on recent reports but, dammit, I really want to see this happen! Cronenberg created such a rich, atmospheric, world in the first one, with an astonishing turn by Viggo Mortensen, that another trip into the Russian underworld would be most welcome!

Small disclaimer: the film is quite brutal, in an honest, non-titillating way; but brutal none-the-less. You have been warned.... but, seriously, still see it!

Raiders of the Lost Titans

The Hollywood remake machine keeps on chugging. This time it has it's eyes set on the Harry Hamlin (yes, the guy from L.A. Law) starring Clash of the Titans. I cannot comment on the original as I have never seen it; so, fan-boy hissy-fits of ruining the original film can apply elsewhere.

It could be a disaster in the making but it has a good cast lining up; Liam Neeson, Ralph Fiennes, Mads Mikkelson (After the Wedding, Casino Royale), and man of 2009 Sam Worthington (trust me, this guy is going to go all Leo on it once Avatar opens!)

The highlight is a script by Lawrence Kasdan; aka, the man that should have written the Star Wars prequels (yes, I am still sore about it!) With classic blockbusters such as Raiders and Empire under his belt, not to mention his own acclaimed dramas (The Accidental Tourist and Body Heat) this could really be something!

Trailer Round-up

The first Public Enemies trailer left me, frankly, a little concerned. Yes, yes, in context it isn't as great a concern as poverty or war, but fanboys are in need of a good Michael Mann hit. The synopsis promised Heat in prohibition times and the trailer promised a failure in the use of digital filmmaking to do period. Well, the second trailer is much better; with greater atmosphere and sense of character; and the use of digital cameras appears to give the period an immediacy that has never been seen before.

Fans of Office Space may have been a little disappointed with Mike Judge's follow-up, Idiocracy. While it did have some highlights, particularly the opening fertility sequence, it never reached the giddy zeitgeist of Office Space.

His next film, Extract, has a comedy cast to die for (well, maybe that is going too far; maybe a nasty paper cut with lemon juice, yeah, lots of lemon juice). Let's just hope it gets the advertising support it needs to get bums on seats come opening weekend; this guy really deserves a hit.

Moon

I love intelligent sci-fi; particularly if it has a mean streak. Unfortunately, good sci-fi is particularly hard to find, so, it is with delight that I stumbled across the trailer for Moon!

Featuring the irresistible Sam Rockwell, as a lone astronaut on a 3 year mission to mine a precious energy source on the moon, it promises intelligent sci-fi oozing with menace. But don't take my word for it; check it out yourself:

Stop-Loss

Opening with an impressive action sequence, Stop-Loss tells the tale of 3 childhood friends returning home from the Iraq War to try and resume a normal life. When complications ensue it pushes their friendships to breaking point.

Following up her 1999 film, Boys Don't Cry, Kimberley Pierce presents a well researched film that, on appearances, presents an honest look at the effect the Iraq War, together with the prevous US Administration, had/has on the boys sent to fight. Her use of hand-held cameras to evoke the home videos the soldiers shoot on tour gives the film a raw, immediate, aesthetic.

The cast is lead by an excellent Ryan Phillippe whose character, King, is haunted by the decisions he made in combat. A once by-the-book soldier he begins to question the system and the reason to fight. Rounding out the cast is Abbie Cornish, Tatum Channing, and Joseph Gordon-Levitt.

Levitt is quickly becoming one of the more interesting actors of his generation. After a career-starting role in Third Rock from the Sun, he branched out into more challenging roles in such indie films as Mysterious Skin, Brick, and The Lookout; all strongly recommended. His turn in Stop-Loss continues his winning streak and his next film, 500 Days of Summer, could, if it hits, launch his career into another level.

Stop-Loss is a tight, focussed, film that comes highly recommended.

Star Trek reviews flood the internet...

... and early word is very positive! And if the trekkies like it so much then the rest of us stand a chance as well.

It sounds like the most accessible Trek to date with a focus on action and emotion over sci-fi. No complaints here. We can find out how good it is for ourselves when the film hits Stardate 07/05/09.

Trailer Round-Up

The first trailer for Where the Wild Things Are is online and it looks promising. There is not much substance on display, so it is hard to gauge the performances, but visually it is a sumptuous delight.

This little film has been getting good word of mouth. The trailer has been online for awhile but I imagine it has slipped under most peoples radar. There is no NZ release date set but I for one cannot wait for 500 Days of Summer.

The trailer for Judd Apatow's latest directorial effort, Funny People, has also been online for a few weeks. I dare you to watch it and not rewind it to watch Leslie Mann's Aussie-accented abuse of Eric Bana! "Lot's of people go to massage parlours... it doesn't mean I was gettin' a rub 'n tug. Oi!"

The Wrestler: Review

Darren Aronofsky's last film, The Fountain, was a modern-day sci-fi parable of love and loss set against a kaleidoscope of Spanish conquistadors and outer space. It is a visual and spiritual feast of ideas that is well-worth the 90min running time. However, critically the film was divisive and audiences stayed away in droves. Add a tortured production, that saw the initial version of it scrapped to be resumed two years later with a lower budget, it is no surprise that Aronofsky followed that ambitious film with this low-key character study.

Playing an ageing wrestler, who only receives affection by having himself beaten to a pulp in-front of a screaming audience or by paying lap-dancers, Rourke's hulking figure is in almost every frame. And, it is his performance that makes the film worth-seeing. Some have said that his performance is perhaps less worthy as he is essentially playing himself; a broken down piece of meat actor playing a broken down piece of meat wrestler. This, of course, is an absurd idea. It is no easier playing a version of yourself than someone else entirely and surely it takes much more courage, insight, and humility to expose yourself on film as Rourke does here.

Aronfosky's direction in his past films has been very conscious. While the mark of his direction is still all over this film; note the use of the steadicam to mirror the images of Rourke heading to the wrestling ring with him heading to the deli counter; all visual tricks to entertain the audience have been discarded to watch the actors in a raw, almost uneditorial fashion. It does not make for an overly entertaining film but it does pay off in dividends by letting this unassuming story seep into viewers hearts as the final frames play.

I think this is what it must have been like to see a film in the seventies. Discerning adults, going to the movies, not for mind-numbing escape but, looking for something to stimulate the heart and fuel the late night conversation. If that was the film-makers goal then they have succeeded admirably!