Tag Archives: film

Alien: Covenant

Alien: Covenant posterSeveral years ago, when Ridley Scott announced his prequel to his 1979 classic Alien, Prometheus, I wondered whether we really needed an explanation for events leading up to a film that already worked so efficiently and effectively.

Now, with the follow-up to that film, Alien: Covenant, that is also another precursor to the original, that question occurs once again.

From the off it ties the two threads of the story together with a prologue featuring Prometheus‘ replicant character David (Michael Fassbender) before we are sent to the colony ship Covenant and meet another replicant, Walter (also Fassbender).

From that point on we get a story that seems to be unsure quite what it wants to do and say. Certainly there are plenty of thrills and chills and a good dose of action and excitement as the crew of the Covenant (and I don’t think this is a spoiler given the title) encounter a version of the Xenomorph Alien (apparently the ‘Neomorph’) seen in the past instalments of the series.

Katherine Waterston - Alien: Covenant - Daniels

Daniels (Waterston)

Along with the action, again much like Prometheus, the film seems to want to deal with some big questions, so we have Oram (Billy Crudup), thrust into the role of ship’s captain and a self expressed man of faith.

The fact this is self expressed is where the problem with this attempt at exploring something really comes to fore as anything Alien: Covenant might be trying to explore is just stated by the characters rather being genuinely explored through the film, so it falls a little flat.

As well as this there is a thread that, like the original Alien and its direct sequels, takes something of a feminist angle with crew member Daniels (Katherine Waterston) echoing original heroine Ripley as the film’s (comparatively) grounded heroic centre as chaos escalates.

Alien: Covenant - Walter - Michael Fassbender

Walter (Fassbender)

Unlike the original though this feels rather too heavy-handed, especially as it’s already an established trope of the series and it just never quite rings as honest and true, particularly when we reach a rather over gratuitous scene toward the film’s climax.

This might be for the very simple reason that, while Daniels is arguably the hero of this film’s story, I couldn’t escape the feeling that the series now belongs to Fassbender’s replicant characters.

It’s fair to say that, as David initially and then Walter, Fassbender has found a way to make these characters that, in the past were often sinister bit parts, into fascinating explorations of humanity and our place in the universe (as much as a big budget sci-fi blockbuster might).

The Neomorph - Alien: Covenant

The ‘Neomorph’ alien

Fassbender is undeniably the most engaging presence here and, as with Prometheus, his performance is phenomenal – to the point where his blankness is at times a little too convincing and genuinely creepy, and makes any outbursts all the more effective, but I may already have said too much.

As a whole though Alien: Covenant, while enjoyable, feels a little too much like a ‘best bits’ of the better past films thrown together, with the attempt at philosophy of Prometheus thrown in, and not quite coming out with an entirely satisfying whole and it’s hard to escape the fact that this is all somewhat unnecessary exposition for a pair of classic films that never needed it.

Tagged , , , , , , , , , , , , ,

Critics Choice at Beau Cinema: Silence

Silence movie posterAs pointed out by Wynter Tyson (one of the curators of the #CriticsChoice series at Beau Cinema) during his introduction to this screening of Martin Scorsese’s Silence, the revered director has, throughout his career, often explored elements of faith in his work.

From the more obvious in the The Last a Temptation Of Christ to references in Gangs of New York to, arguably, a mirroring of a kind of corrupted faith in Wolf of Wall StreetSilence though follows Last Temptation in being a more direct take on the subject.

The film tells the story of a pair for Jesuit priests (Andrew Garfield and Adam Driver) on a mission to Japan in the 17th century to continue the development of Christianity in the country and seek out the fate of their teacher, Padre Ferreira (Liam Neeson).

From the start, a fog shrouded scene featuring severed heads and a particularly unique and specific form of torture being administered to a group of Christian priests told from the point of view of Ferreira, it’s clear this is going to be a deep, dark journey and exploration of faith, and it doesn’t disappoint.

Silence movie - Andrew Garfield and Adam Driver

Garfield and Driver

While Scorsese is perfectly adept at everything from b-movie style fare to bright modern drama, here he more than proves why he is as regarded as he is as one of Hollywood’s best directors.

Every moment of Silence feels created with all aspects coming together to create something all-encompassing.

The sound design particularly stands out (as the title might suggest) being very low-key but highlighting what it needs to without resorting to the grand sweeping orchestrations or stereotypically ethnic sounds a lesser director might.

Silence - Liam Neeson

Neeson

This allows the visuals, which range from the rusticity beautiful to the genuinely brutal, to really stand out and strike in a way that is never melodramatic, giving the whole thing a sense of realism that is really absorbing.

While Liam Neeson’s appearance feels something like an extended cameo in the mould of his turns as Qui-Gon Jin in The Phantom Menace or Ra’s Al Ghul in Batman Begins (just a little more serious) and Adam Driver brings an impressive intensity to Padre Francisco Garupe, it is Andrew Garfield who owns the film.

Garfield, as Padre Sebastião Rodrigues, is the film’s centre and really, despite the historical themes surrounding him, it is his journey that is the central plot.

We watch him struggle with his faith both physically and psychologically in a way that is (for the most part) brilliantly understated but gradually works its way into a truly effective and effecting place that shows a side to him I honestly never thought possible based on his pair of outings as Spider-Man (an unfair comparison I realise, but it makes the point).

Silence - Andrew Garfield and Liam Neeson

Garfield and Neeson

While I’m not sure the film effected me on the spiritual level that it would Scorsese, or indeed anyone of a more religious or spiritual bent, Silence is a genuinely impressive piece of cinema.

It both manages to capture a period of history I knew not as much about and also allows space for a very real feeling story to be told without resorting to typical over the top cinematic tricks to manipulate its audience or rushing to explain every last thing, meaning it will likely sit in the back of my mind for a good while to come.

Tagged , , , , , , , , ,

Guardians of the Galaxy Vol. 2

Guardians Of The Galaxy Vol. 2 posterWhen James Gunn’s Guardians of the Galaxy was released in 2014 it was a breath of fresh air in a rapidly expanding Marvel Cinematic Universe that was already beginning to grow somewhat stale.

Now, three years later, its sequel has appeared with far more anticipation and again the hope that it would help add something new to the now apparently inescapable MCU juggernaut.

From the start Guardians of the Galaxy Vol. 2 is very much more of the same as Gunn, once again in the director’s chair, subverts standard action movie expectations as a big action scene takes place as the background to a dance sequence from Baby Groot (Vin Diesel) accompanied by yet another nostalgia heavy musical choice.

While this is all fine and entertaining it sets up something that becomes a bit of a frustration, particularly in the first half of the film. The use of vintage pop songs and irreverent punchlines was a highlight of the first movie but here they often seem a bit too forced and it almost as if nothing can happen without a joke being thrown in at the end.

guardians of the galaxy vol 2 - baby groot

Baby Groot (voiced by Vin Diesel)

Some of these are great but some miss the mark and it starts to feel like Gunn is feeling the need to live up what was most notable about the first film (something that looks to have spread to not only the new Thor film Ragnarok but also the upcoming DC superhero mash-up Justice League, judging by the trailers).

Because of this the first half of the film does drag somewhat, despite a few perfectly serviceable action sequences, as it takes a while for the story to really get going as we are reintroduced to the Guardians and their particular corner of the galaxy, along with a vague maguffin about stolen batteries.

Once Ego arrives though things do pick up.

Guardians of the Galaxy Vol 2 - Kurt Russell - Ego 2

Ego, The Living Planet (Kurt Russell)

Played by Kurt Russell in a way that is at once one of the film’s biggest 80s nostalgia trips and a genuinely effective character, Ego is something of a rare thing in Marvel’s films of feeling like something a bit different.

Known as ‘The Living Planet’ he expands on the more sci-fi end of the MCU in both visual and character terms and there are some genuinely impressive moments focussing on him that do a great job of translating comic book ‘splash page’ style imagery onto the big screen.

While this leads to a big smash bang action sequence as is the Marvel standard, the connections between the characters, old and new, give this something a little different to keep it interesting enough, if not truly ground breaking.

Much like the first film one of its strong points is in the design of the MCU extraterrestrial world.

Guardians of the Galaxy Vol.2 - Chris Pratt

Peter Quill, aka Star Lord (Chris Pratt)

With ships clearly strongly influenced by artist Chris Foss and a somewhat psychedelic sense to its space-scapes it builds in what was set up first time round as well as in the Thor and Doctor Strange films and suggests the upcoming Avengers films that it would seem will focus on Thanos have the chance of some epic visuals.

Laced through with cameos and a strong sense of 1980s nostalgia Guardians of the Galaxy Vol. 2 may be not feel as fresh as its predecessor and be hampered by trying to live up to its own hype, but is entertaining and really picks up in the second half to be one of the better films in the Marvel Cinematic Universe.

I think this is helped by still being totally separate to the ongoing Avengers saga it seems destined to collide with sooner rather than later and having a solid directorial vision from Gunn (who has already been announced as directing the third Guardians film) rather than the often slightly too homogenised feel of the rest of the series.

Tagged , , , , , , , , , , , , , , ,

Star Trek: Insurrection

Star Trek Insurrection posterThere is a famous theory about Star Trek movies that if it is an even-numbered ‘episode’ it will be good and if it is odd-numbered it will be less so, to an extent The Wrath of Kahn, The Search For SpockThe Final Frontier, The Undiscovered Country and First Contact demonstrate this as being true.

Approaching Star Trek: Insurrection, the ninth instalment in the cinematic series, then my hopes were not high, based on the rule and my vague memories from seeing it in the cinema back in 1998. This was not aided by the opening credits stating that this one was directed by Jonathan Frakes, aka Commander William Riker.

The story of the film concerns two opposing alien races and what appears to be a kind of ‘fountain of youth’ type maguffin and the crew of the Enterprise have to sort things out. This is a fairly standard sounding plot for Star Trek, and it feels like it; though normally this would be one of the more disposable weekly 45 minute episodes rather than an hour and forty minutes of film time.

To try to make it seem bigger a few extra twists are thrown into the tale which largely just serve to over complicate the story in a totally unsatisfactory way so any revelations simply fall flat at best or at worst just make no sense at all.

Star Trek insurrection - Picard

Captain Picard (Stewart) has a ‘humourous’ encounter

Away from the story, which incidentally is entirely self-contained and strangely distant from the ongoing Dominion War raging in the then ongoing TV series Deep Space Nine, the entire production of the film just feels a little off.

The script is riddled with moments that appear to be adding a lighthearted air to proceedings but sit entirely at odds with the rest of the story while also being totally out of character for these very well established parts and the apparent internal explanation never quite rings true.

Added to this is the fact that Frakes direction makes the whole thing feel just like a bad episode of a TV show. At the time when Deep Space Nine was starting the development of the television series into the sort of thing it has become now with the likes of Game Of Thrones, this film feels more like a relative of Garth Marenghi’s Darkplace, just without being an intentional spoof.

Star Trek Insurrection - F Murray Abraham as Ru'Afo

F Murray Abraham as the forgettable villain Ru’Afo

It also seems Frakes and the writers felt the need to include a clumsily handled side plot about Riker’s beard which is simply surplus to any requirements, while another romantic entanglement for Picard just feels like repetition of several similar threads from the past – neither have the weird presence of William Shatner to pull off these sub-Kirk shenanigans.

To their credit it looks like the actors are having a good time doing something a bit more lighthearted than their previous cinematic efforts but with the script failing them so badly even the usually reliable Patrick Stewart is left with little and so hams it up a treat and little else.

Meanwhile the usually reliably Brent Spiner as Data is also left floundering with little that really fits his character and it seems the recently bereaved Worf (Michael Dorn) has just been crowbarred in and reset to his role at the end of The Next Generation TV series with barely a mention of his ongoing exploits.

Star Trek Insurrection - Riker and Troi

Riker (Frakes) loses his trademark beard thanks to Counsellor Troi (Marina Sirtis)

In the end of course all is sorted out and the status quo remains after a less than exhilarating battle both in space and on planet making Star Trek: Insurrection undeniably continuing proof of the evens and odds rule for the series and, while it may not be as bad as Star Trek V: The Final Frontier, it is probably a close second for worst Trek movie.

Tagged , , , , , , , , , , , , , , , ,

Beau Cinema #CriticsChoice: The Manchurian Candidate

Beau CinemaHaving been revamped a couple of years ago to give Guernsey audiences a chance to see current releases on a bigger screen the cinema in Beau Sejour Leisure Centre, dubbed Beau Cinema, has recently branched out to present a (hopefully ongoing) season of films slightly away from the mainstream under the banner of #CriticsChoice.

Following an opening pair of recent releases Train To Busan and Nocturnal Animals (both of which I sadly missed) they headed into classic territory with John Frankenheimer’s Cold War thriller, The Manchurian Candidate.

Before the film #CriticsChoice curator, Wynter Tyson, who has been involved with various cinema events in the past including the local Sarnia Shorts film festival, gave a brief introduction to the film giving a little context to not just the time of its release but also its place within the career of director John Frankenheimer as part of a trilogy of films dealing with paranoia.

The Manchurian Candidate - 1962 posterAnd so onto the film.

Released in 1962, we are dropped straight into the Korean War ten years earlier where we meet a platoon of American soldiers led by Major Ben Marco (Frank Sinatra) and see them taken prisoner by a band of Chinese/Soviet troops.

From there we cut to a number of years later as the American soldiers appear to have escaped from captivity and returned home thanks to the heroics of Raymond Shaw (Laurence Harvey) and he is awarded the Medal of Honor, but all, of course, is not quite how it appears.

From the start Frankenheimer takes the story by Richard Condon and uses fabulous cinematic technique to slowly build a creeping sense of claustrophobia.

Throughout there’s a sense that we are either voyeurs spying on the characters or, as it goes on, trapped in metaphorically tight spaces with them. Even when we head to New York’s Central Park or Madison Square Garden arena there is the feeling of being oppressed and enclosed.

This is predominantly done with the use of startlingly tight close-ups which is particularly effective on the big screen.

The Manchurian Candidate - Frank Sinatra and Laurence Harvey

Sinatra and Harvey

Also spectacular are the nightmare sequences which are pure cinematic magic in the best of ways, all done very simply but genuinely tense, terrifying and confusing in a good way.

Along with this are some excellent performances. Harvey is excellent as the initially standoffish Shaw who gradually grows across the film before leading to something convincingly unnerving in the genuinely thrilling denouement.

Sinatra meanwhile gives a surprisingly fragile performance, while retaining something of the quintessential American soldier, that must be one of the earliest portrayals of a kind of post traumatic stress disorder – albeit highly fictionalised for the purposes of the plot – and he never comes across as too ‘starry’ as I thought he might.

The supporting cast are also generally very effective, particularly Angela Lansbury who is something of a revelation to see for the first time away from Murder She Wrote or Bedknobs & Broomsticks as she develops a truly unsettling and dark presence in the centre of the story.

The Manchurian Candidate - Angela Lansbury and Laurence Harvey

Lansbury and Harvey

The only real downside of the film Janet Leigh’s role which really only seems to serve as a slightly improbable love interest for Sinatra that never quite rings true or satisfactorily becomes a part of the wider story as it feels she at first might.

Of course a lot could be made of the film’s political side which is astonishingly relevant today, 55 years after the film’s release, given most of the headlines coming from the US, Russia, France and the U.K, and develops in a way that feels far more intense than you’d expect in the pre-JFK and pre-Watergate world, but I’ll leave that for you to find out and ponder on.

The Manchurian Candidate then is a fantastic film that uses everything cinema can to both tell a tremendous, gripping and thrilling tale and say something truly reflective of real world politics through a (vaguely) heightened filter.

The Manchurian Candidate

One of the film’s startling moments

While the audience was on the small side for this screening the chance to see something a bit different on a big screen is a great one to have and with Scorsese’s latest, Silence, lined up next in 11th May hopefully #CriticsChoice is a series of events that will continue for a long time to come.

To find out about future #CriticsChoice screenings keep an eye on the Guernsey Film Chat Facebook page

Tagged , , , , , , , , , , , , ,

I Am Divine

I Am Divine posterContinuing my interest in cult movie documentaries, following the likes of Midnight Movies, Electric Boogaloo, Not Quite Hollywood and Jodorowsky’s Dune, I delved into Jeffrey Schwarz’s film about the ‘muse of John Waters’, Divine, aka Harris Glenn Milstead.

While my awareness of Divine was brief she was certainly a fascinating presence, known to me mostly for the early extreme films of John Waters but later finding a kind of mainstream-cult notoriety in Water’s Hairspray and a suitably surreal looking pop career.

I Am Divine then charts his/her life and career in some detail, not pulling too many punches but clearly coming from an affectionate viewpoint.

While I get the feeling this probably glosses over quite a lot of things, it does mean that many of Divine’s friends and colleagues are present as talking heads which adds a definite authenticity to the story.

Unsurprisingly Waters is a highlight among these whether in archive footage or interviews recorded for the film and it’s clear that the two shared a strange connection which gives much credence to the ‘muse’ notion.

Divine, out of costume

Divine, out of costume

That said there are a few moments where Waters, and others, come dangerously close to appearing to lead the rather naive and enthusiastic young Milstead into quite such a surreal position, particularly when it is revealed that Divine’s name and look were constructed by Waters and his crew of ‘Dreamlanders’, though for the most part it feels that Divine was fairly complicit in this too.

Generally the production of I Am Divine is fairly standard but given the less than standard story it tells this doesn’t really matter as the straight forward interviews reveal an honesty that is essential while the archive footage of Divine both in and out of character helps bring the stories to life.

Away from the Waters link particularly interesting are stories from Holly Woodlawn about Divine’s meeting with Andy Warhol, tales from the time Divine toured as a disco pop performer, including an appearance on Top Of The Pops where British tabloids typically declared the appearance as ‘worse than Boy George’.

Divine in Pink Flamingos

Divine in Pink Flamingos

As with the best of these kind of films it has encouraged me to look further into Waters’ and Divine’s films and gives those I have seen a somewhat new aspect based around the difference between Divine’s on and offstage demeanour.

While all of this is fascinating the thing that really makes I Am Divine something different from many similar profile documentaries is the family and personal story that is threaded through.

This is made all the stronger thanks to the participation of Divine’s own mother.

While this side of the story has its ups and downs it overall is one with as happy an ending as it can have given Divine’s ultimate fate.

In the end I Am Divine is a fascinating, surprisingly touching, film with a story that, while ultimately tragic in many ways, never fails to be uplifting and delivers much of the same message of pride espoused by much of the LGBT+ plus movement and, appropriately enough, the message of The Rocky Horror Show could easily be applied as a message to take from Divine’s life… ‘Don’t dream it, be it!’

Tagged , , , , , , , , , , , , , ,

The Big Lebowski

The Big Lebowski posterWhere does one start with the Coen Brothers take on neo-noir, The Big Lebowski?

Since its release it has often been hailed as a classic (though I’m sure it has its share of naysayers) and has become one of the most quotable films in recent memory. I’ve seen it a good number of times and sat down to rewatch it again recently on something of a whim.

This whim was spawned by a fact that struck me, part way through, as being a bit odd – that despite the fact the plot deals with kidnap, murder and conspiracy it does so in a way that feels cosy, friendly and warm in something of a generic about face.

The story is a rambling one, reminiscent of many classic noir stories, where a young lady is kidnapped, a ransom demanded and a pay off set up that goes wrong as new aspects come to light and the mystery deepens. Where the Coens throw in their twist though is that rather than having a detached, cool, calm and collected private detective in the lead they have… The Dude (Jeff Bridges).

The Dude (“His Dudeness, or uh, Duder, or El Duderino if you’re not into the whole brevity thing”) is an ageing hippy type who enjoys the simple things in life like bowling, White Russians and Credence Clearwater Revival and it is his presence as the often befuddled core of all the goings on that I think creates the surprisingly homely feel.

The Dude (Jeff Bridges) - The Big Lebowski

The Dude (Jeff Bridges)

Added to this is the fact that, regardless of your social position, The Dude is almost universally relatable.

He is a guy that just wants to get on with his life and is wondering why someone has soiled his rug, someone wants to use him to conceive a child and someone else has roped him into being a go between in a ransom case – while his best friend (John Goodman’s excellent crazed Jewish convert Vietnam vet, Walter) is threatening people with a gun over bowling scores and confusing the mystery plot even further.

What really makes this is a performance from Bridges that is so spot on its hard to separate him from the role as he casually meanders his way through the movie.

Even though it does reach more of a neat conclusion than one might expect The Big Lebowski retains the feel of a rambling, shaggy dog story, that has a ring of truth within a sense of near surrealism.

Jeff Bridges, Steve Buscemi and John Goodman - The Big Lebowski

The Dude (Bridges), Donnie (Buscemi) and Walter (Goodman)

This is aided by a couple of dream sequences that perfectly fit The Dude’s demeanour and work as almost stand alone moments, the most impressive of which is the second that ties the whole film together in a suggestive musical number to the song Just Dropped In by Kenny Rogers & The First Edition.

The setting of the film also adds to the sense of surreal-realism as this is North Hollywood in the early 1990s.

North Hollywood itself, the less glamorous side to LA, is a location that lends itself to the uniquely odd mix of the real world rubbing shoulders with Hollywood just over the hills and the famed pornography industry of the San Fernando Valley as well as the high end residential area of Beverly Hills and so, in many ways, is a reflection of The Dude and his situation.

While the Dude is certainly our hero the film is rounded off by a very strong cast of supporting characters.

Jeff Bridges and Julianne Moore

The Dude and Maude Lebowski (Julianne Moore) mid dream Sequence

From The Dude’s bowling buddies Walter and Donnie (Steve Buscemi), the titular Lebowski’s assistant, Brandt (Phillip Seymour Hoffman), the eccentric artist Maude Lebowski (Julianne Moore), ‘The Jesus’ (John Turturro) to the excellent Sam Elliott as The Stranger, our narrator, while also being present in the world of the film (possibly).

All of these help create the world of The Dude, a world he and we are sucked into and spat out from across the film and, as is a Coen Brothers trait, they are an excellent ensemble cast of regular players.

While this all sounds a little confusing the Coens wrangle it expertly into a movie that becomes at once as good as one would expect it to be and somehow even better, all while twisting cinematic convention from noir to period in a way unlike anything to come before or since.

Tagged , , , , , , , , , , , , , , , , ,

The Lego Batman Movie

The Lego Batman Movie posterWhile the initial idea of The Lego Movie was, at first, somewhat of an odd one, the final product was one of the highlights of recent family cinema so it wasn’t surprising when a sequel was announced fairly swiftly.

The fact that this sequel would be The Lego Batman Movie, focussing on the Lego version of the DC superhero, a highlight of The Lego Movie but ultimately a bit part, just added to the surprises around the franchise.

Opening with Batman foiling one of The Joker’s schemes to destroy Gotham, all the tropes of Batman are quickly established, but added to this is the knowing, post-modern humour that made this Batman such a highlight of the previous film.

The first chunk of the film relies heavily on this and, while the action, animation and characters are well done it’s the reference heavy humour that is its strong suit.

Lego Batman and Robin

Lego Batman and Robin

After this of course a plot is required to fill out the rest of the movie and really this is the film’s weakest element. It tries to balance a further nefarious plan from The Joker with a focus on Batman’s ever-present loneliness including the introduction of a new cinematic Robin, but all with a suitably lighthearted tone (this certainly isn’t Ben Affleck’s dark and brooding version of the character from Batman Vs Superman).

While it’s still fun the slightly forced plot causes the middle section to drag a bit and it is more predictable, both in terms of story and jokes, than it could have been.

The final act brings the same feel as the first back, closing things on a high point with nods to all the previous screen versions of Batman, including the often overlooked 1960s Adam West incarnation, along with guest appearances from pretty much every villainous character Lego have licence to use from Daleks to Voldemort and way beyond.

The Lego Joker

The Lego Joker

As a whole the voice cast are very good with Will Arnett’s Batman being an excellent standout. However, while Zach Galifianakis does a good turn as Joker, it’s hard to escape the fact he simply isn’t Mark Hamill who has been the most consistently effective versions of the character, vocally at least.

While it doesn’t quite live up to The Lego Movie, I’m not sure how it could as that film’s inventiveness is of course being replicated here to some degree, The Lego Batman Movie is none-the-less great fun with enough to appeal to all the family on various levels and with enough surprises to, mostly, keep it going along very well if not quite being the standout many had hoped for.

Tagged , , , , , , , , , , , , ,

Oasis: Supersonic

Oasis Supersonic posterIn the mid-1990s there was something of a gap in the area of credible, popular music. Following the rave and ‘Madchester’ scenes in the UK and the influx of grunge from the US (halted somewhat overnight in the eyes of the mainstream with the death of Kurt Cobain) something different needed to emerge to fill that void, that something became known as Britpop.

Britpop was (as these things often are) a mishmash of sounds and styles all loosely stemming from British based guitar bands so there was Pulp (already veterans of the scene), Blur (less ‘kitchen sink’ in approach than many of their contemporaries) and, arguably, sat atop the pile, was Oasis.

If you grew up in the UK in the mid-1990s its very hard to believe you weren’t part of this movement on some level or other, either you were a fan of one of the bands (it seems you had to be on a certain ‘team’) or you hated all of it and, much like punk rock, even that added fuel to the movement.

Now, twenty years from its peak, Oasis: Supersonic looks back at the formation and rise of the band that came define the style.

The film tells this story using both new interviews and archive clips of the band and surrounding characters, but of course the protagonists are the Gallagher Brothers, Noel (songwriter and guitarist) and Liam (singer).

Oasis on stage

Oasis on stage

Stylistically the film does some interesting things. We don’t get standard, sit down, talking head clips of the leads, instead the audio of their interviews (often with subtitles, I’m assuming for the American market where their Mancunian accents may be more impenetrable) is overlaid on footage or photo montages of something roughly around what they are talking about.

In this we get some amazing sights, from the brothers childhood, which by all accounts was rough on all of them, but they both make it clear they don’t carry that any kind of device for gaining sympathy, to the early days of the band where, if everything here is accurate, they were followed around almost constantly by people with video or film cameras – something that today is commonplace but in the mid-90s is fairly astonishing.

In these moments is where the sense that this was somewhat a constructed reality started to creep in. Understandably the film is very much on side with the Gallaghers, they were both executive producers, but at the same time it doesn’t entirely shy away from their troubles, albeit in a slight tidied up manner.

Liam and Noel Gallagher

Liam and Noel Gallagher

Generally though, much like in the work of Julien Temple (who I can’t not refer to when looking at a music documentary), any ‘construction’ of the reality is done to help tell the story within the allotted running time.

As the story goes on and the band hit their stride, being signed by Alan McGee to Creation Records and then making their debut album and heading out on the road, it becomes a non-stop ride and captures the chaos of this excellently through its montage approach. Included in this are well placed cuts back to Manchester and their family and youth when it reflects moments of their adult life.

Particularly impressive here is the section dealing with the recording of their debut, Definitely, Maybe, which captures an aspect of the inexplicable alchemy that goes into a record going from a few good songs, to a classic product that has stood the test of time now more than two decades on.

The second act of the film treads many of the same paths as other music documentaries as the band teeters on the brink of self-destruction but the openness of the Gallagher’s interviews (particularly Noel’s) does add an interesting new insight into just how these things can happen. Of course, heading to America and discovering new drugs is a major contributing factor.

Oasis knebworth site

The crowd at Knebworth

The film is bookended by the band’s peak (and arguable final moment of relevance) playing sold out shows at Knebworth, dubbed the biggest rock ‘n’ roll shows in British history. The movie does a great job of capturing the atmosphere and place in history of this event, as the Gallaghers say, before music became taken over by talent shows and the internet.

While this view may be slightly overstating it, the film shows there is a certain element of truth to this and it is a nice point to end on as going too much further would have just been watching a band tailspin for a further half decade before finally entirely imploding.

As a whole Supersonic is a celebratory affair looking at a creative and revolutionary period, not just for Oasis but for British music as a whole, as elements of punk and the 60s ‘British invasion’ merged into something new and fresh and equally relevant to their time all held together by a mix of great stories and storytelling and some songs lodged in the heads of anyone who was discovering music at that time.

Tagged , , , , , , , , , , ,

Ghost In The Shell (2017)

Ghost In The Shell posterSince it’s release in 1995 the anime of Ghost In The Shell has become one of the touchstones of not only Japanese animated films breaking through into western culture (along with the likes of Akira and the Miyazaki films) but has become a heavy influence on science fiction cinema of many sorts from The Matrix to Dredd and beyond.

So now, some 22 years later, the long developing ‘Hollywood remake’ has hit the multiplexes with Scarlett Johansson leading an international cast, also including Juliet Binoche and ‘Beat’ Takeshi Kitano.

The story here concerns Johansson’s Major Mira Killian, a cyborg member of a kind of top-secret law enforcement agency, and her teams mission to take out a mysterious new threat who is killing off high level scientists from the company who created the Major’s robotic body. From there things head into a fairly predictable conspiracy plot.

While there’s nothing wrong with the plot per se, and it does use the conspiracy to explore a similar notion to the earlier animated version, it is hampered hugely by a near total lack of definition in the characters all of whom are at best two-dimensional renderings of fairly well-worn stereotypes – even Major who of all the roles has the most scope for something more.

Scarlett Johansson as Major Mira Killian - Ghost in the Shell

Johansson as Major

While this same criticism could be levelled at many of today’s blockbusters everything around the central group of characters just feels somewhat bland with a script that relies too much on spoken exposition to both move the story on and labour its point with visuals that, while technically impressive, never wow like it feels they should and display no sense of flair or originality.

Given the fact at least some of the cast are known talents it’s hard not to conclude that a major part of the problem lies with director Rupert Sanders, the man previously responsible for Snow White And The Huntsman which had many similar problems.

On top of this came the fact that there is a sense that Ghost In The Shell was produced somewhat ‘by committee’, trying to simultaneously target both the mainstream American (western) movie audience, the increasingly important Chinese market, the Japanese market and fans of the original.

Ghost in the Shell - Batou and team

The rest of Major’s team

While the original anime version of the film helped establish new tropes of future urban dystopia this version does little to build on that, strangely giving it a feeling that it is copying the very things the original influenced both visually and in terms of its story and characters.

This all comes together to leave a film that, while not technically bad, just feels flat and uninspired which, given the legacy of its progenitor, makes it a massive disappointment and a missed opportunity that probably arrived two decades too late, if it ever even needed to arrive at all.

Tagged , , , , , , , , , ,