Star Trek Into Darkness by J.J. Abrams

Star Trek Into Darkness by J.J. Abrams

The crew of the USS Enterprise meets an unstoppable force of terror from within Starfleet, Captain Kirk leads a manhunt to capture a one man weapon of mass destruction.

The central relationship between Kirk and Spock is the most compelling element out of the entire Star Trek canon. My peers frequently debate me about Star Trek: The Next Generation but my viewing experience of TNG has only been the movies. Unfortunately I missed it as a television series. For my money, there’s been nothing nearly as compelling and iconic as Kirk’s hot-blooded brash instinct versus Spock’s cold logic and the temperamental humane Dr. McCoy caught between them. I love what they each represent and their eternal triangular quarrel. They want to work together to solve grandiose problems but they all see different on the approach. Never does one of them ever solve the solution completely with their own philosophy and often it’s a varying combination of all three that saves the day. It’s about hearing people out, being unassuming and adapting to new ideas. When Star Trek: The Original Series debutted in the mid-60′s, Gene Roddenberry intended the original show to have a major political agenda and aimed to present an optimistic version of what man can be at their very best.

Much of the essence from Star Trek: The Original Series remains in Star Trek Into Darkness, it contains themes about colonialism, political intervention and terrorism. But it is there only if you want to read it. These themes are expressed in a muted fashion as the thematic discussions are always running parallel to major action set pieces. As if the material was like a shark that had to keep moving at breakneck speed or it will risk dying of boredom. Personally, I never minded those thematic discussions in the previous Star Trek films. A few more quiet moments wouldn’t have been bad either. Just saying. Now that J.J. Abrams is helming the next Star Wars movie, the “Star Wars vs. Star Trek” geek war that existed when I was a teenager might very well be over now. A Star Wars influence is present in the film and I ponder what elements Abrams will bring over.

The script is workshopped to an inch of its life. Heck, it’s indicative in the film’s “no colon” title. The fact that the writers have been quoted stating that “There’s no word that comes after the colon after Star Trek that’s cool.” has been clearly spent way too much time pulling their hair psychotically, obsessing over every detail and perfecting the story over coffee-spilled paper. Seriously, is there really a group of people out there that feels negative about colons after the movie title? Does that really justify warping (yes, pun intended) English grammar? This sounds like ranting but I really mean this as a compliment to their supposed geek madness.

The cast delivers as they did in the previous installment. I do think having watched the previous installment helps immensely as there are not a lot of character building moments for everybody. But the actors are all well casted in their roles and fortunately every crew member still has something to do. Zachary Quinto shines as Spock and his friendship with Chris Pine’s Kirk is a believable one. Their friendship is the heart of the movie. Simon Pegg gets to do something new as Scotty. Benedict Cumberbatch is a great villain. He owns the audience. One minute he is savagely evil, the next minute we slightly sympathize with him and then he shifts again. On that note, I can’t wait for Sherlock season 3.

This is a very ambitious film that has a lot of things to accomplish. It’s trying to deliver a story with multiple characters, please both the non-fans and the fans, go to new territory but also honor the spirit of the original series. The film essentially wants to have its cake and eat it too but it accomplishes it really well. If J.J. Abrams’ gave any more pop culture nods as he does in this film, his head would fall off.  I cheered at the spectacle of the action scenes, laughed at the in-jokes, and almost cried at the film’s climax.

I want to see it again and look forward to the third installment. Hopefully it won’t take as long as this one.

Oblivion by Joseph Kosinski

Oblivion by Joseph Kosinski

A veteran assigned to extract Earth’s remaining resources begins to question what he knows about his mission and himself.

Unlike a lot of science fiction films that often have busy mechanical designs and crowded backgrounds, there is a very distinct simplicity to Oblivion’s production designs. The empty barren Icelandic landscapes, machines and buildings built in straight clean lines and the bright daylight all help create an effective atmosphere. The film is beautifully shot and finds a natural beauty in post-apocalyptic destruction. Often I found myself just gazing upon the landscapes and felt awe watching huge robotic monolithic ships harvesting the Earth’s water. Oblivion should definitely print a production art book.

The best performance in the film is Andrea Riseborough’s. A lot of the intrigue and mystery of what’s really going on behind this world is built from Riseborough’s performance. The intrigue is built so well that the beginning section with her and Tom Cruise makes up for the more interesting portion. She plays a very fine line between someone who is concealing a secret or not wanting to know the truth. As the audience, we cannot tell which one it is.

There are little Americanisms in the film that are problematic. At the beginning, Tom Cruise’s character lands an aircraft on Earth. As he gathers his gear, he puts on a New York Yankees baseball cap. Why? Even if it were a blue-collar habitual daily routine, why wouldn’t he have put it on before flying the aircraft? Wouldn’t there be more sun in the sky than in the ground? It’s not a big deal, and it took me out of the movie a bit.

Oblivion draws upon a lot of science fiction films in the past. Example? Let’s just say Tom Cruise jogs on a treadmill that is not rectangular. For that, science fiction fans may have a harder time enjoying Oblivion as they may fall into an accidental game of ‘spot the reference’. I personally didn’t have a problem with that. It doesn’t bring anything new to the science fiction genre but I enjoyed it nonetheless.

Berberian Sound Studio by Peter Strickland

Berberian Sound Studio by Peter Strickland

 

Berberian Sound Studio centers on Gilderoy (played by Toby Jones), a British foley artist working on the audio track for an Italian giallo film, The Equestrian Vortex, takes a wrong turn as life starts to imitate art.

Berberian Sound Studio subverts the usual visual experience of watching a horror film and shows you the creation of a horror film in sequences where you see the foley effects, voice and music being added to a film that is omitted from the audience. It creates an unsettling otherworldly creepiness as you watch foley artists stab watermelons, voice actresses shrieking and convulsing in sync to an offscreen projection. We never see much of the film-within-a-film The Equestrian Vortex and the lack of it forces the audience to be highly sensitive to the the sounds in the film. It’s unnerving and it becomes gradually creepier as it goes along. Never has a shot of someone’s hand tearing lettuce been so scary.

As a “film about a film”, Berberian Sound Studio celebrates the art of filmmaking by showing us the power of cinema by presenting all its techniques both literally and metaphorically. It’s not heavy on plot nor character. You must feel your way throughout this film with your senses as it’s creating tensions through visuals, sounds and feelings.

Things that aren’t happening before us are constantly implied and its constant claustrophobic interior setting is a metaphor about the inward journey of the artist’s mind creating their own world. The way an artist craft stories with their imaginations, the love and stress that goes into their work and how it can often become obsessive.

And for that, it’s perfectly okay to be lost inside Berberian Sound Studio. Set the volume at a decent level and just let the visuals, soundscape and montage guide you through varying states of reality and fantasy. I recommend it to horror fans and any film buff. It’s a real piece of art.

A Royal Affair by Nikolaj Arcel

A Royal Affair by Nikolaj Arcel

A Royal Affair is set in the 18th century, at the court of the mentally ill King Christian VII of Denmark (played by Mikkel Følsgaard), and focuses on the romance between his wife, Caroline Matilda of Great Britain (played by Alicia Vikander), and the royal physician Johann Friedrich Struensee (played by Mads Mikkelsen).

It’s an exciting story and it’s very well told. At times, I found myself rooting for Caroline and hated King Christian VII. And then when doctor Struensee is introduced, I was rooting for him and Caroline. In the end, all three characters start to develop a triad relationship and King Christian started to become more likable so I rooted for all three of them. It perfectly shifted perspectives at different points of the story and we come to understand the personal meaning behind each character’s actions.

Mads Mikkelsen brings a firm masculine presence to Struensee. He carries a wisdom, which isn’t telegraphed through a typical scene where his character would recite intelligent things in front of the queen as she dilates her pupils impressed. No, it’s acted out in with his body and the way he carries himself. It’s easy to see why the king is charmed by him and why the queen falls in love with him. He is too good of an actor to be wasting his time playing young Hannibal Lecter in an American TV series. Hannibal Lecter is done, that character is just not scary anymore. Please make more movies like this!

Alicia Vikander has very expressive eyes. She communicates the repressed restraint of Queen Caroline Matilda, who is living in her own personal hell where she’s forced to live in constant abuse. She does a good job aging Queen Caroline from an innocent girl to a woman who eventually learns to be a queen. There’s no old age make-up, it’s purely in how she communicates the age from the confidence that one gains from life.

The unsung performance is Mikkel Følsgaard as King Christian VII of Denmark.  I read that King Christian VII has mental illness. They do not really go into that here but he does seem quite insane. On one level it is disturbing to watch because I can see anyone acting as psychotic as he does if one was the king and can do no wrong. But Mikkel Følsgaard communicates that deep down Christian is probably a scared boy that does not know what to do with his power.

If it were up to me, the film deserves Best Actor, Best Actress and Best Supporting Actor for its three leads.

A Royal Affair is well-shot with good production values and beautiful art direction. The film feels very romantic. The dance scene between Caroline and Struensee is sexy. There is a genuine sense of jeopardy because you feel their passion for each other, but like the characters, the audience doesn’t know where their love can ever go. That makes every moment so much more valuable.

One of the best movies I’ve seen so far this year.

Iron Man 3 by Shane Black

Iron Man 3 by Shane Black

When Tony Stark’s world is torn apart by a formidable terrorist called the Mandarin, he starts an odyssey of rebuilding and retribution.

Iron Man 3 follows in the vein of  The Dark Knight Rises and Skyfall in which a hero is broken apart entirely and has to put himself back together. I personally like this story of a hero falling, rebuilding himself and rising again. The similarities in story for both Rises and Skyfall didn’t bother me because both films individualized the story specifically towards its hero.

Unfortunately, this is where Iron Man 3 drops the ball. The event that causes Tony Stark’s fall does not make much sense. What happened to Stark’s friend wouldn’t lead to what happened, let’s just leave it at that. The rebuilding of Tony Stark is the strongest portion and was something new. They do a good job breaking Tony Stark apart and putting him in a place where has to work without his armor. But Iron Man 3 makes its biggest sin in its third act when Tony Stark resurges - they forget and forego the essence of Tony Stark.

The story events that are affecting the characters never seem to match logically. Why is Tony Stark stressed about the New York incident in The Avengers? He didn’t cause the incident. Is it post-traumatic stress? It didn’t seem so, but it was not clear. Shouldn’t his guilt be centered upon his past as a weapons arm dealer and his continuing journey to right his past mistakes?

What they choose to do with The Mandarin was disappointing. He is a plot device, he’s not a character. Ben Kingsley is just collecting a cheque and selling some self-parody. I’m not even going into Guy Pearce’s villain except to say his character motivations were underwritten and his abilities are ridiculous.

Shane Black is one of my favorite screenwriters (The Last Boyscout and the first two Lethal Weapon films) and I am a big fan of his directorial debut Kiss Kiss Bang Bang. It was nice how they were a Christmas theme running through the film, like in all the other Shane Black screenplays. I’d like to believe the finished product was not the film he wanted to make. In fact, I bet a year or two from now we’ll be hearing a statement from Shane Black about how he did not have creative control or had a better draft of the script that was heavily changed. Or he could have dropped the ball. Who knows? Seriously, the script seems written by a marketing committee, checklisting certain plot points from successful examples such as Skyfall and The Dark Knight Rises, and forcibly inserting them into the script.

I remember years ago reading a quote from Shane Black saying how the producers on The Last Boyscout bought his script based on his ability to write sharp witty one-liners, not on account of the story or anything creative he was trying to achieve. That complaint is talismanic of the problem with the use of humor in Iron Man 3. There were way too many silly jokes that didn’t add to the story and it kept distracting from the seriousness of what was happening. It’s a poor unnecessary attempt to make things family friendly.

Let me make something clear, I do not equate these criticisms against the film having to follow The Avengers. It was a good choice to not include S.H.I.E.L.D, Nick Fury and the other Avengers, and set it as a solo Tony Stark story. But the place they go with the character totally nullifies the entire essence of Tony Stark. It would have been like Batman using a time machine to stop the death of his own parents, so he can stop being Batman. First of all, that would be okay if this was the last Iron Man movie. But it isn’t, this is the beginning of Marvel Phase 2. Secondly, having the hero removing his very own essence without fighting through a conflict is just plain cheating.

As I’ve said with my Avengers review, Marvel doesn’t need to make more solo movies if they don’t have legitimate stories to tell, they can just make more Avengers movies at this point. They’ve already upped the ante and we’re naturally expecting more.

I like Shane Black and Robert Downey Jr. as Tony Stark, and they’ll move on to do better things. But this sadly wasn’t one of them. It’s the weakest of the three.

Louis C.K.: Oh My God by Louis C.K.

Louis C.K.: Oh My God by Louis C.K.

I have no intention of going through and naming each comedy bit, that would ruin the surprise and fun of watching this new hour from Louis C.K.. The core of C.K.’s comedy is not the material itself. He is not reliant on comedy mechanics for laughs. Nothing he says ever feels like a joke in the traditional ‘setup, punchline’ sensibility. No, the humor is sourced in his energy and inflections, where the audience is experiencing the world through his point of view as if we were in his body, thoughts or fantasies. Sometimes it’s all three.

Often I find myself laughing at his word choices and visual descriptions. At times, he’s merely just stating the obvious. But the way C.K. utilizes a metaphor or simile is artful in how he can conjoin two separate ideas together, where he can wormhole the audience’s minds to some unexpected grotesque places for comparisons. And then he builds on it by acting out these ridiculous thought trains. There was also one improvisational moment where he accidentally spills water and he comments on it that had me aching in laughter. The bit he did as his closer was truly the climax of this new hour.

C.K. makes a point that being older makes a more intelligent and interesting person. He is the living embodiment of his own point. We’re watching a comedian who has grown into himself, and we’re intrigued not just for the laughs, but because he has something to say. A voice with true gravitas that he has earned from living a life.

And for that, Louis C.K. seems eternally connected to the grotesque and the morbid, but it’s all enwrapped over a positive message: appreciate life and what you have. That’s how he gets away with saying very horrible things on stage. As an audience member and a student of stand-up comedy, I enjoy watching him get away with it.