McFarland - A Reminder of the Real American Dream

 There aren't too many definites in this world but put Kevin Costner in a sports movie and you can be pretty sure you will get your money's worth.
McFarland is the kind of movie that will never be a blockbuster. It wasn't aiming to be the biggest movie or to "better the rest" based on box office bucks. But it has heart and it has a great message.

Is it formulaic and somewhat predictable? Yes...but that's because "good", more often than not, is predictable.
McFarland is the true story of a coach taking a high school cross-country team from non-existence to competing in the California State Championships. The story is inspirational but it is the message that director Niki Caro has framed around the story that makes this movie stand out. You see, while the story maybe the typical cliche - a white guy inspiring a group of immigrant, unmotivated kids to become something - the message is really of how an immigrant community reminded the white guy of what the American dream really is.

The American Dream used to stand for something. It used to stand for opportunity. It used to stand for hard work. It used to stand for family.  It used to stand for equality and freedom and "in God we trust". Over the years this dream became simplified by mainstream to mean, bigger, better, and brighter. Today, that definition for many has evolved into ego, inequality and excess.
In McFarland we are introduced to a white family, pointedly called the White family, who seem to be failing at what they perceive to be the American dream. The father, Jim White, loses his job as a high school football coach and has to move to a largely immigrant town in central California called McFarland.  His home is downsized, his job is downsized and his expectations are down-sized - all of it far from the super-sized definition of the modern day American dream.

But as the White's are forced to live with the disappointment of their downfall and overcome the distrust they feel in their new surroundings with their new neighbours, slowly, somewhere in the dusty orange groves, and back-cramping cabbage fields of McFarland, they are reminded of the real American Dream.

Is this an overly patriotic American movie? No. Not at all. In fact, you will learn more about the Mexican culture than the American culture on the face of it. But throughout the film, director Niki Caro reminds the audience that it is the immigrant mentality that built America. Not with idle expectation or by demanding rights but on the backbone of hard work, humility and a healthy dose of love and respect for family, community and yes, even God.

You will get bigger blockbusters, you will get better award-winning, fashionable movies but if you want to be reminded of what life is really about, and at the same time enjoy a strong inspirational sports movie with the ever-likeable Kevin Costner, go check out McFarland.

Noah?...ah No!

Darren Aronofsky's Noah was released today. Widely anticipated but with many critics cautious about its cinematic clout at the box office, the wait is over and the result is underwhelming.

Instead of a clear account of the biblical epic, we have a mish-mash of many of the Noah/Great Flood narratives from across the world. Instead of some acceptable creative license for an admittedly lean story we have, for all intents and purposes, a completely new story that cannibalizes its origin. Instead of the anticipated return of the "biblical epic", we have a part-sci-fi, part-60's nature documentary, part-silhouette puppet, part-psycho-thriller, and part-bleak apocalyptic yarn. Noah, rather than the wise, faithful, strong prophet who spoke for God, was merely a delusional psychotic. And Methuselah, reported to be the oldest living man ever to walk the face of the earth, was reduced to a comical bit-part, as a berry-picking hermit.

This movie had so many mixed messages that it was clear that either this movie was an attempt to pander to all religions and cultures, including atheists, or it was just too afraid to pick one version of the story and tell that story.
God was called "The Creator" throughout as a nod to the Aboriginals and Creationists and the message for them appeared to be that nature was in control, possibly through a creator. Darwinism and "survival of the fittest" was introduced in an attempt to pander to the scientific atheists and the message was clearly the fittest will survive and that God, if he does exist, is a killer and not to be followed but rather, ignored. There was enough mention of Judo-Christian elements to suggest they were also trying to please that base but clearly they were not the main audience as they brutalized the traditional story and for the life of me I cannot see how any one particular group can come out of this pleased with the results. I suspect the familiar, faithful Noah was made a murderous madman in an effort to create a storyline for strong women to emerge from. But in truth, even the women still end up being the subject of infanticide, are left to die and ultimately, are only secondary characters.

The cinematography is both bold and bleak, helping contrast the old world to be destroyed with the new world to emerge. The acting is acceptable but never outstanding and while if you ask an expert, the special effects would likely be described as technically superb, visually I was never really wowed. And neither the cinematography or special effects were enough to save this cinematic ark from sinking.
So you ask me - should you go see Noah.
Ah?...That's a No!.

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"!