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Written by Matthew Toomey

Created: 01 August 2019

It’s been more than 18 years since The Fast and The Furious was released in cinemas and it’s likely that this super successful franchise will be running for at least another 18 years.  The eight movies in the series to date have grossed a combined $5.1 billion USD at the worldwide box-office.  The characters are getting older but the screenwriters keep coming up with new plots that revolve around two key themes – cars and crime.

Hobbs & Shaw marks a slight divergence in that it’s not a direct sequel.  The full cast will return for Fast & Furious 9 in May 2020 but to satisfy audiences in the interim, this spin-off has been created which focuses on two specific players – Luke Hobbs (Johnson) and Deckard Shaw (Statham).  If you’re familiar with the franchise, you’ll know that these two have a different approach to life and don’t see eye-to-eye.  One is an American federal agent who gets up of a morning and hits the gym.  The other is a former British Special Forces officer who gets up of a morning and has a beer.

You can see where this heading.  Hobbs and Shaw want nothing to do with each other but after exchanging a series of savage insults, they’re forced to team up for a “save the world” kind of assignment.  Some dodgy folk have engineered a deadly virus that can liquify human organs and will eradicate all humans on earth.  The only people that will survive are those with special implants that describe themselves as the “future of mankind”.

A running theme throughout the previous movies is that of “family”.  The storylines were often far-fetched (a car chase on an airport runway springs to mind) but the characters were likeable and you could appreciate why they’d put their lives on the line.  The problem Hobbs & Shaw is that it’s all become cartoonish.  There’s almost no tension as our two “heroes” seem more interested in delivering comedic one-liners than helping friends in perilous situations.

Straying a long way from the franchise’s initial roots, writers Chris Morgan and Drew Pearce push the film into the science-fiction genre with the creation of Brixton Lore (Elba), the keynote villain.  He was once an MI6 field agent but has now been transformed into a genetically modified, Terminator-style cyborg.  He’s looking to get his hands on the virus for a bit of “genocide, schmenocide” but that’s unlikely to occur given the number of times he lets Hobbs and Shaw slip through his fingers.  Lore’s incompetence is designed to prolong the narrative (and I’m ok with that) but it’s too silly and obvious.  I had to laugh when he goofily smashes his helmet in frustration after a lengthy motorcycle chase.

Despite its many limitations, Hobbs & Shaw is still essential viewing for fans of the series as it sets up several plotlines that will likely be covered in next year’s Fast & Furious 9.  Hopefully it has more to offer

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Written by Matthew Toomey

Created: 22 July 2019

Sporting movies are incredibly difficult to make because there’s no substitute for the real thing.  I can remember being at Suncorp Stadium in 2011 when the Brisbane Roar kicked two goals in the final 5 minutes of extra time and then won the A-League Grand Final in a penalty shootout.  When I pull it up on YouTube, I still get a tingle down my spine watching the players’ reactions and listening to the commentators’ stunned reflections.  A filmmaker could have a $200 million budget and could hire the best cast and crew but it’s highly unlikely that any re-enactment would have the same emotional impact.

Oscar winning filmmaker Asif Kapadia (Amy) understands the pitfalls of traditional sporting flicks and has developed a winning template.  Released in 2011, Senna was an unforgettable documentary about the life of racing driver Ayrton Senna that featured no narration, no re-enactments and no modern day perspectives.  He accessed the media archive of Formula One rights owner Bernie Ecclestone, sifted through 15,000 hours of video, and told Senna’s fascinating story using actual footage and interviews from the 1980s and 90s (much of which had never been seen before).

Kapadia has used similar techniques with Diego Maradona.  It too is a narration-free documentary that uses grainy video tapes from the 1980s to explore the life of the infamous football star.  Given the limitations of time, the film doesn’t delve too deeply into his upbringing in the slums of Buenos Aires.  It picks up his story in 1984 when, following two disappointing seasons with Barcelona in the La Liga, the 23-year-old was transferred to Napoli, a struggling Italian football club in the Serie A.

Kapadia’s film shows us the power of sport and the way it can inspire the masses.  In the 1980s, Naples was seen as the “sewer of Italy” but Maradona helped transform the city’s image with his incredible talents on the football pitch.  When he first arrived at the club, Napoli had never won a major title, they were struggling to avoid relegation, and they were continually taunted and degraded by opposition fans.  Within three years, they were the best football team in the country!

The movie also has something important to say about the perils of wealth and success.  Because he was so vital to the financial and societal success of Napoli on the pitch, his friends/enablers were not prepared to question his many mistakes off the pitch.  He befriended Italian mobsters, used copious amounts of cocaine, and cheated on his partners.  The fact that he’d become “too big” also rubbed some fans up the wrong way and, perhaps unavoidably, he became one of the most divisive figures in sport.

Kapadia interviewed Diego Maradona several times as part of the project and found it a “tough film to make.”  Maradona was happy for the film to be made and didn’t even ask to see it before being released… but there were moments during the interviews where he refused to answer heavier questions.  It’s fallen upon Kapadia, editor Chris King and composer Antônio Pinto to weave it all together and create an engrossing narrative.  There are a few small gaps but for the most part, they’ve done a stellar job.

You don’t need to be a sports fan to take something away from Diego Maradona.

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Written by Matthew Toomey

Created: 29 July 2019

In search of an idea to make his next movie, writer-director Emilio Estevez was inspired by a 2007 article in The Los Angeles Times penned by Chip Ward, the Assistant Director of the Salt Lake City Public Library.  Ward spoke of how libraries had become “de facto daytime shelters” for many of the city’s homeless.  Shelters kicked them out early in the morning and with nowhere to go during daylight hours, particularly during times of bad weather, they sought refuge in public libraries where they could sit, read and make conversation.

Estevez’s film features fictional characters and has changed the setting to Cincinnati but the early scenes illustrate both the plight and ingenuity of the homeless.  It’s the middle of winter, it’s freezing (temperatures are sub zero) and there are dozens of people queuing up outside the public library.  When the doors finally open, the homeless folk make their way to the bathrooms where they can shave, brush their teeth and freshen up.  Everyone knows everyone (including the staff) since the same events play out day after day.

The crux of the narrative in The Public centres on a particularly cold evening when a group of roughly 30 homeless people refuse to leave at closing time.  They’re not trying to be difficult or trying to make a political statement.  It’s simply a matter of necessity.  All the nearby shelters are full and so if forced to sleep outside, they run the risk of hypothermia or serious illness.

We watch events unfold from several perspectives.  The library’s head (Wright) calls in the security guards when the homeless refuse to leave.  An empathetic librarian (Estevez) helps the homeless by barricading the front doors.  A crisis negotiator for the local police department (Baldwin) tries to defuse the situation.  A self-centred district attorney running for mayor (Slater) sees this as opportunity to generate publicity.  A news reporter (Union) puts her own spin on events in pursuit of TV ratings.

Estevez has taken a risk in including so many subplots but to his credit, he’s found a way to weave it all together and create a tense, compelling narrative.  A few characters lack depth (such as Christian Slater’s one-eyed mayor) but for the most part, these are interesting people.  You’ll be curious to see how events unfold but more broadly, it gets you thinking about the world in general, the value of libraries, and the increasing number of displaced people in society.  The sequences where the homeless talk amongst themselves are particularly meaningful.

Leaving you with something to think about as you leave the cinema, The Public is both entertaining and informative.

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Written by Matthew Toomey

Created: 17 July 2019

There are great works of literature that have been adapted many times for the stage and screen.  It’s the role of the cast and crew, with particular emphasis on the director, to put their own unique spin on the material and create something that feels fresh and authentic.  As an example, I’d seen previous adaptations of William Shakespeare’s Romeo and Juliet but was still blown away by Baz Luhrmann’s stunning adaptation in 1996.  I knew exactly how the story would unfold but was still amazed by the visuals and its strong emotive impact.

The Lion King follows in the footsteps of Beauty and the Beast, Dumbo and Aladdin in that Walt Disney Studios is taking its much loved animated classics and remaking them using live-action techniques.  It’s probably not correct for me to use the term “live-action” in this case since there isn’t a single human character.  The African settings are real and have been shot by Oscar nominated cinematographer Caleb Deschanel (Never Look Away) but all the animals are computer generated.

Few would deny that the original 1994 version of The Lion King was a great movie.  It was the highest grossing film of that year, it won two Academy Awards, and it enthralled younger audiences across the globe.  It was the story of a young lion cub who, following the death of his powerful father, must harness the courage to stand up to his villainous uncle and take control of the Pride Lands of Africa.  It offers valuable lessons about family, compassion, loyalty and the “circle of life”.

The problem with this 2019 version is that whilst the visual effects team have created cute, life-like animals, the film lacks heart and passion.  It’s as if we’re watching the same movie from 1994 and the filmmakers have been too scared to make any huge creative choices.  The musical themes from Hans Zimmer are the similar, the songs are unchanged, the dialogue is similar and the characters feel stale.  It begs the question – what does this film have to offer (aside from financial profit) that wasn’t already included in the original 25 years ago?

Given a noticeable lack of emotion, the film tries to redeem itself with the laughs provided by Seth Rogen (Pineapple Express) as the loveable warthog and Billy Eichner (Parks and Recreation) as the cheeky meerkat.  They’re easily the best two characters.  The remaining cast is extensive, including 88-year-old James Earl Jones who reprises his role from the original, but they struggle to create anything special or memorable.

The film is likely to be admired by a new generation of young kids but when looking at this through a critical eye, the 1994 movie did it much better.

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Written by Matthew Toomey

Created: 24 July 2019

Given the scarcity of sporting movies, it’s humorous to find two being released on the same day here in Australia.  They’re even about the same sport!  As the better of the two, Diego Maradona is a terrific, narration-free documentary that uses grainy video tapes from the 1980s to explore the life of the infamous football star.  Once you’ve seen that, you can turn your attention to The Keeper, a biopic about German footballer Bert Trautmann who rose to fame in Britain the 1950s.

This is an extremely corny movie but it’s still an interesting one.  When we first meet Trautmann (Kross), he’s a German soldier who has been captured by British forces and placed in a prisoner-of-war camp in Lancashire as World War II comes to a close.  There’s not a lot to do inside the camp and so Trautmann and his fellow soldiers kick a football around on the dusty ground.  He’s got a great eye and so he serves as the keeper in front of the makeshift goals.

It’s here where he’s discovered by Jack (Henshaw), an English tradesman who also serves as manager for a struggling local football club.  Jack makes a goofy bet with a customer that his team will win this weekend and desperate to be proven right, he dumps his goalkeeper (who wasn’t very good anyway) and replaces him with Trautmann.  The fact he’s German doesn’t go down well with the crowds but once the team notches a win, their misgivings start to dissipate.

It’s from this point that the film largely plays out as you may expect.  It’s a story about multiculturalism and forgiveness.  It’s understandable that some British fans and players are less accepting of Trautmann given the side he fought on during World War II and the emotional scars still carried by British people who lost friends and loved ones.  However, Trautmann is slowly able to mend the cultural differences between their respective countries because of his prowess on the football pitch.  As we saw in Diego Maradona, it again highlights the power of sport.

This may be a true story but the structure of the screenplay makes it feel like a cheesy rom-com at times.  Trautmann falls in love with an English girl, Margaret (Mavor), who already has a quasi-boyfriend.  There’s a laughable scene where the drunken boyfriend tries to prove himself by challenging Trautmann to a quick-fire penalty shootout.  These hackneyed moments detract from the film’s authenticity.  I’d also argue that the soccer scenes themselves aren’t particularly convincing.  It’s as if the opposition players are hardly trying.

Despite the film’s shortcomings, this is still a worthy drama with an intriguing final act (which I haven’t spoiled).  Trautmann’s legacy in the world of English football should be honoured and remembered.