The Menu - It's Well Done for me!

Some years ago, a mentor took me to a very fine restaurant in Boston. It was one of those places where the menu was select, the cuisine was art and the price was outrageous and you went there because you could and because it said something about your status. As a guest, I was a bit of an outsider and it showed when I ordered the steak - a Kobe steak. Unbeknown to ignorant me, Kobe beef is a delicacy valued for its flavour, tenderness, and fatty and marbled texture. Chefs insist on cooking it rare to medium at best. But unbeknown to the chef, he had a guest that insists on only eating meat well done - me! When I ordered it "well done", there were gasps and the waiter even suggested I should have it medium, but in my ignorance I insisted. When the dish was served medium rare I felt embarrassed. I dared not complain. But my mentor knowingly asked me how my steak was. Quietly, not wanting to cause a fuss, I explained, and he told me that if I was ever going to get what I wanted in life, I had to ask for it. 

The Menu, serves up a movie that is both rare and well done. It focuses on a chef played by the inimitable Ralph Fiennes who, tired of the pretentiousness of his art and his life, decides to break from it all to create an ingenuous and ingenuine menu for carefully chosen guests, - who have no idea what he has cooked up for them. 

This dark comedy/horror will either have you canceling your fine dining reservations and heading to the nearest McDonalds or will leave you pondering how much of your life is still palatable.

One of the key ingredients to understanding this masterful composition is a quote the chef shares with his captivated diners, from Martin Luther King.

"We know through painful experience that freedom is never voluntarily given by the oppressor; it must be demanded by the oppressed" he tells them as he prepares their next course. 

 

Well it's a lesson many of us never learn, even when we learn it and that may well be the point. Many of us are so caught up in a pattern of living a subservient life that we never, ever truly demand life how we want it. Even when we know we could and should. We would rather sit there and let life serve up what it will, than properly fight for what we want. 

Anyway, as you may have guessed in the end I got my steak well done, and in the process I learned a valuable lesson...or did I?

The Menu...well written, well acted, well done!

At Any Price - The Moral Corruption of the American Dream

Have you ever gone for a slow drive in the cornfields of middle America in the warm sun of late summer? Do you remember how it felt? Away from the big city and the rush of modern life, there among the green side banks and golden husks and blue skies, didn't it feel just a little like this was how life was really meant to be? Didn't it feel almost perfect?
Ramin Bahrani's "At Any Price" takes you back to that place in this slow burn film about the American Dream and the uncompromising pursuit of it.
Henry Whipple (Dennis Quaid) is an Iowa farmer raised with an "expand or die" mindset in an ever-shrinking, highly controlled and highly competitive market. Meanwhile and much to his chagrin, Henry's two sons, Dean and Grant, are chasing their own dreams - away from the cornfields. Determined to expand the farm for his sons, Henry must eventually choose how much he is willing to pay and how much he is willing to lose to keep that dream alive for him and his sons.

There are some very solid performances from the lead actors Dennis Quaid, Zac Effron and Kim Dickens but for me the star of the show is Bahrani's modern parable itself that highlights how morally corrupt everyone has become in chasing the American Dream and not only morally corrupt but emotionally bankrupt too. Through infidelity, heartache and break up, through corruption and criminal investigation and even through murder, not one tear is shed by the Whipple family. It's as if Bahrani is suggesting America itself is past feeling. Sure we get angry, and greedy and still plenty of lust but when it comes to guilt or compassion or conscience we are on empty.

I'll leave it to you what lessons and conclusions you think Bahrani wants us to draw from this little gem, but it is no coincidence that the one family member who ends up deserting the cornfields and the American Dream at home, is the one who finds it travelling the globe.

A surprisingly good movie that is well worth watching.

Gravity - Go!...but don't let go!

If you want the short verdict before I get all thematic and psychological on you - GO SEE Gravity!

Sandra Bullock plays Dr Ryan Stone, a biomedical engineer, on her first space shuttle mission who is left drifting in space after a spacewalk goes terribly wrong. The duality in the film title Gravity, suitably foreshadows the films exploration of serious themes while keeping you riveted to your seat with its intense action scenes and nail-biting tension. Visually superb, with an absolutely stunning performance from Sandra Bullock, a solid supporting role from George Clooney and a great soundtrack, do not be surprised if this is an Oscar contender on a few fronts come February 2014.

To be quite honest, Hollywood throws a lot of trash at these big screens every year (yes, Lone Ranger, I'm still looking at you!) and often the ticket price is just not worth what is being served up, but if you are going to visit the movies one more time this year and want to make sure you get some bang for your buck, GO SEE Gravity!

Exploring themes of life and death, birth and rebirth, living vs. existing, holding on and letting go, Gravity brilliantly portrays the impact of tragedy in our lives and our responses to it. Terrifying on a very human level, director Alfonso Cuaron (Children of Men, Harry Potter and the Prisoner of Azkaban) has used space, the remotest of all locations to bring us a very personal and emotional reflection of our souls' innermost struggles. And I use the word "reflection" carefully - you'll notice very subtle placement of mirrors and reflections throughout the movie. 

Everybody at some point in their lives will experience "debris" in life - that is random uncontrollable events that can impact our lives suddenly and without much warning. The gravity of such moments is always experienced in deeply personal ways but for many of us, such turbulent and sometimes tragic times can prove so traumatic that our only reaction is to close up shop and shut down. Sure, life goes on but it is in survival mode, barely existing - almost waiting for the next tragedy to hit us, as it often does. We instinctively impose solitary confinement on ourselves, if not physically then at least emotionally curling ourselves into a fetal ball, sometimes even wishing we had not been born at all.

Gravity captures the awful loneliness of the soul in these moments with breathtaking visual effects, expansive cinematography and an incredibly nuanced performance from Sandra Bullock. 

But Gravity also offers hope, whether it be the simplest sound of a dog barking, or a little baby crying, a tear drop falling into space, or the sight of the sunrise on the Ganges - these simple things in an instant can affirm life, they keep us grounded - they are like our gravity in life. They speak to our soul in a way that sometimes words just can't. They tell us life does go on, it is worth living for. 

In a world currently dominated by terrorists, scare-mongering and fear, Gravity reminds us that trauma and pain is not only part of life it IS life and accepting it and dealing with it no matter how painful and how scary only makes us stronger individually.

45 years ago, Stanley Kubrick created what many claim to be the greatest science fiction movie of them all with 2001: A Space Odyssey, a frightening masterpiece that predicted if not the overthrow of humanity then the enslavement of humanity by technology. 

45 years later, Alfonso Cuaron has created his own science fiction masterpiece where we may be tethered to technology but we are still in control of our own destiny. And in Cuaron's Gravity, life and technology can be very fragile but the true conqueror is the human spirit.

A powerful and empowering movie experience. Go see Gravity.

The Wolverine

Wolverine shows his claws!

Let me start by giving you a couple of pointers. Firstly this is not really a superhero movie for kids. There are a few profanities purposely spread throughout the movie and some scenes that, because Wolverine is a mutant, were allowed in as PG-13 which would have made it an R rated movie had Wolverine been considered a human character by the MPAA. Ironic, when you consider the whole mutant/non-mutant storyline that runs through the whole X-Men franchise.
Also continuing with the rating theme there is implied sexuality which in itself is only implied but for some reason, despite being part of the original Wolverine comic book storyline, just kind of seemed a little creepy considering how young Mariko looks and how old Hugh Jackman looks. I don't know, maybe it's just me but it just didn't feel right. But maybe that was part of the whole anime feel James Mangold was trying to incorporate into the Tokyo-based movie.
Finally, if you plan on seeing this in 3D, don't waste your money. You will not miss out on anything by seeing this in the old fashioned 2D format. Save your bucks for a set of adamantium claws from Walmart this next Halloween.

All of that aside, this was not a bad movie. It was pretty faithful to the comics, it has strong action, a decent storyline and it is not over-filled with mutants and that allows a lot more celluloid space for their strongest asset - Hugh Jackman. It is another fine and physically powerful performance from him. 20th Century Fox have done a fine job overall with the casting of the X-Men franchise and Hugh Jackman as the Wolverine character exemplifies this better than any. But despite the strong performance from Jackman in his 6th outing as Wolverine, something isn't quite right.

There is a scene where the clawed superhero is shot by about 50 arrows all attached to ropes that are attached to 50 ninjas, all pulling him back as he tries to progress forward to save the day. Hugh Jackman, with every sinew in his body twisting and stretching and straining to take another step forward, is riveting to watch.

He IS Wolverine (which maybe explains the MPAA's confusion with the ratings decision).

But this scene serves as a perfect parallel for the entire movie. It snarls and growls and is great to watch - with Hugh Jackman almost literally carrying the movie - but it always feels like, despite him, it is being held back somehow from being the really great movie it could have been.

Part of this movie's purpose was to bring Wolverine physically and mentally back to the X-Men fold, after he had gone AWOL, in time for the next X-Men instalment, Days of Future Past. Unfortunately the method of subconscious/dream sequences that are used to illustrate his personal pain and facilitate that healing path was just plain overused and felt out of place.
Svetlana Khodchenkova as the Viper, while doing a decent job still seems miscast and lacklustre.
The final scene is somewhat underwhelming too.

Listen before I make you feel like this movie is not worth watching, it is. It is good solid entertainment. It's just that is all because of one actor and his ability to make you laugh, make you nervous and make you want to have adamantium claws!

Anyway, do not leave at the end as there is the usual Marvel credit scene that is awesome. And that about sums it up. Finishing a movie with the anticipation of a better movie is never a great sign, is it?

World War Z

Swarming Zombies in World War Z

This summer has been about big budget flops with Lone Ranger, White House Down and Pacific Rim leading the charge downhill!
Prior to release, much of the online chatter had World War Z heading the same way.
With a budget of over $200 million spiralling out of control and widely reported script changes and reshoots, World War Z was looking like it was fast turning into World War Zzzzzzzz.
Instead, director Marc Forster has given us a simple yet extremely effective and entertaining zombie action flick.
Brad Pitt plays a retired UN investigator, Gerry Lane, who has swapped the horrors of war crime investigation for the rigours of making pancakes for breakfast for his hard-working wife (an effective, if slightly 2-dimensional Mireille Enos) and their two daughters. As a global zombie pandemic erupts, our homely Mr Mom is called out of retirement to trace the original infection and help find the solution that will save what remains of the world population.
The plot is hardly original and the script is not going to win any awards but a couple of key decisions make this movie inescapably enjoyable.
Firstly, Marc Forster created zombies that, rather than slowly lurching and dragging themselves somewhat aimlessly after their prey (leaving you increasingly mad at each victim for not having moved a little bit quicker), are fast and furious and swarm at astonishing speeds. In essence you get the feeling very early on that if you are in plain view of them, you are a dead man walking...running...dead man..hmm. Well you get the idea. It's scary and that's what you wanted walking in right? It's non-stop action and intense.
The second thing director Marc Forster did to great effect was to change the balance of the movie. Most movies have an opening act, a middle act, and a final or third act. Each act is designed to build to the climax in the third act where the protagonist (generally the good guy) duels the antagonist (generally the bad guy) and wins the day (see The Avengers and Man of Steel as classic examples). That final scene is the scene where you get all the big action sequences and huge CGI productions. Its the fireworks at the end of the parade or after the big countdown. Except in World War Z there is no big countdown. Within two scenes of the movie opening, the fireworks have already been set off and they keep going until the final third of the movie. Then the brain work begins for the final third of the movie. And amazingly, it works! Part of what makes it work is Brad Pitt's understated acting ability. Really. He actually is a good actor and he shows it as he carries the final third of the movie to it's natural conclusion.
If you don't walk into this movie with preconceived ideas of what you want this movie to be you will walk out thoroughly entertained. And isn't that all you really want from a movie? If so, quit reading now and go see this movie while it is still in theatres.

If you are still reading, chances are you are a bit of a movie geek like me. Maybe action and escapism and a decent review are not enough for you. Maybe you like to see deep meaningful parallels between the movies you watch and the world we live in. You want relevancy. Who knows why. I mean isn't the entertainment business there to simply entertain and provide some escapism from our world? Well if you disagree, fear not. While the masses swarm in and out of movie theatres, dead to everything but the most basic of instincts there are some who believe in gleaning more from what we watch. And World War Z has a little bit of that too - just for us movie geeks - not so deep that it gets lost in its own importance but enough that it adds to your experience and just for a few seconds it adds to your perspective on life.

The truth is we all live in a world that is getting faster and faster and more and more congested, a society consuming all in its wake and a society that dares you stand still for even a second without fearing you may be left for dead. What World War Z does very well and not so subtly is suggest that maybe the best way to survive as a society is to stop, maybe even disassociate ourselves completely from the world, or at least slow down, quiet down a bit and turn off the technology if just for a few moments. From an opening scene where the TV news channel is never completely tuned out by the dad trying to play happily retired Mr Mom to the scene where a cell phone creates an all too familiar disturbance with devastating results, it's clear to us geeks that the enemy here is not so much the zombies but the speed and direction that society and technology and social media is taking us.
Not surprising then that the final third of the movie plays out away from the global scenes of chaos and CGI swarms and without the aid of technology, ending up on a beautifully remote landscape in Novia Scotia. It's a simple truth that gives you pause to think............but really this is just a cracking action movie and I want you all to blog, twitter, text and facebook this instantly to your friends and family before you move on to the million and one other things you have to get done today!

The Lone Ranger

I grew up watching the re-runs of the Lone Ranger on a Saturday afternoon. I got excited hearing the William Tell Overture announcing the beginning of the next episode. It's galloping tune fired up images of strong convictions and justice and a man determined to see things were done properly. This cowboy was the superhero of cowboys. He was the best shot, he could lasso anything and he had the smartest horse. In those early days, he stood tall in his saddle. For a young boy like me who loved heroes and loved cowboys - he was not just as good a role model as any other - he was the best role model.

As I have grown up, while still harboring a penchant for such heroes and ideals of yesteryear, I recognize that the world has shades of gray and that our heroes are not all dressed in shining armour but can be dark knights in fact. So when I heard that Disney were looking to reboot The Lone Ranger I was not expecting a carbon copy of that classic cowboy hero from my childhood. In fact some of the more recent hero reboots - Batman, Spiderman, Man of Steel - have done a fantastic job of reinterpreting the outdated material in darker tones. So I expected an edgier darker view of this masked man.

Wow! Was I ever wrong.


Firstly, this movie was all over the place. When they cast Johnny Depp as Tonto, something inside nagged at me - in this day and age why could they not cast a more serious native American actor in the role, but I dismissed that as nervous excitement. What could possibly go wrong? Alright, so casting Johnny Depp tells us it is going to be a somewhat comedic turn but nothing could have prepared me for his performance. Sometimes he speaks half sentences like a painted desert Tarzan -"Me, Tonto" and other times he speaks in full sentences. One minute you think he is part of an action hero double act and then you think he is the missing act from the Four Stooges.
The same chaos reigns supreme with the title actor Armie Hammer. He is built for the part, he looks the part but for most of the movie he plays the chastened fool to the apparently sometimes wise, sometimes wrong Tonto - as if he is still playing the puppy dog scene from "Mirror Mirror".

The William Tell Overture played at various times but with no purpose other than it seemed they thought they put it in at some point just to announce an action scene was coming up. Given the benefit of the doubt I'd say they didn't know what to do with it.

Then somebody thought, "...wait a minute Helena Bonham Carter usually plays a part in movies with Johnny Depp, where is she?"-  and so suddenly there she is - with no apparent purpose but written in anyway - much like a dead crow on someone's head: visually noticeable but pointless.


And finally, I hate to put spoilers in but seeing as they spoilt my movie experience and I don't want you to go see this movie anyway...well I'm just going to spoil it a little bit more.

Could someone please tell me - what on earth are cannibal rabbits doing in this movie?

Was this some kind of homage to Monty Python's Holy Grail? And if so why?
And what was the point of having a General Custer-like character in there without actually naming him and if we are going Little Big Man on the audience to frame our story why not bring Dustin Hoffman in and forego the expense of make-up?

Come award season this is going to earn some Razzies! That is for sure.

Now to sum it all up in the old movies Tonto used to respectfully call The Lone Ranger "kemosabe" which means "trusty scout" or "faithful friend". Disney took it upon themselves to re-define the word with Tonto, disrespectfully (for comedic effect) telling The Lone Ranger it means "the wrong brother", meaning that all along this Lone Ranger was not the real Lone Ranger. The real Lone Ranger died at the beginning of the movie and we were left with his half-wit brother's version.

So what does that leave us with? Well I don't know about you but it left me feeling like I just came out of the hospital with the wrong baby.

And you know what is most disconcerting of all? I think they wanted me to feel this way. If I didn't know any better, the makers of this movie actually hated all that The Lone Ranger stood for and decided to make a movie that pretended to honor him but ultimately mocked him and what he stood for.

Final exhibit against the defence: the last scene with The Lone Ranger and Tonto together. The "heroics" are done and The Lone Ranger raises Silver on his hind legs and shouts the final "Hi Yo Silver". To which Tonto retorts "Don't ever do that again."

Well I am left with just one more thing to say to Disney, Gore Verbinski, Johnny Depp et al, "Don't ever do that again"!

In Bruges

Colin Farrell, Brendan Gleeson, Ralph Fiennes.

First of all, to enjoy this movie you need to not be bothered by the f-bomb. It is used and it is used frequently. You should also not be surprised by the occasional graphic violence - it is after all a story about two hitmen. And then you have to be somewhat savvy with the English culture to get all the jokes. But if none of this is a hindrance, you will discover a gem of a movie in this dark comedy.
Cleverly written and well acted, In Bruge is hilarious and oddly touching and most importantly - original.
Ray (Colin Farrell) is a simpleton hitman plagued with a conscience who is sent to Bruges with his mentor Ken (Brendan Glesson) to wait for their next instructions. Ken wants to sightsee but Ray doesn't and instead ends up finding himself in a number of surreal situations with a few of the locals including a racist dwarf, an arms dealer called Yuri, and a local drug peddler called Chloe. When Ray's boss Harry (Ralph Fiennes) joins the mix, things are set for a killingly funny film.

Don't be fooled by the trailers. This is one of those rare movies where the film is better than the trailer. It is clever, funny, touching and - fan or not - you will love Colin Farrell. He and Brendan Gleeson make a good case here for a more modern and layered version of Laurel and Hardy. Not to be missed also, is Ralph Fiennes performance as the principled crime boss with Tourette's!

Some people's sensitivities may make this film offensive, but that is kind of the point and the joke!
Not necessary to see on the big screen but definitely worth watching sooner rather than later.